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Politische Show in Italien
Umberto Bossi, Parteiführer der Lega Nord, und Silvio Berlusconi, Parteiführer von Forza Italia, zählen zu den erfolgreichsten Politikern Italiens. Beide beherrschen die politische Inszenierung nach allen Regeln der Kunst. Während Umberto Bossi in erster Linie durch sein bewusst ungepflegtes Äußeres und seine rüde und sexistische Sprache auf sich aufmerksam macht, setzt Silvio Berlusconi, Medienmogul und Präsident des AC Mailand, gezielt die italienische Fußballbegeisterung für sein Kommunikationsmanagement ein. Tina Schöpfer zeigt in ihrer politikwissenschaftlichen Analyse auf, in welche Rollen Umberto Bossi und Silvio Berlusconi schlüpfen, welche Themen sie besetzen, welche Spr...
Border-Crossing and Comedy at the Théâtre Italien, 1716–1723
How do nationalized stereotypes inform the reception and content of the migrant comedian’s work? How do performers adapt? What gets lost (and found) in translation? Border-Crossing and Comedy at the Théâtre Italien, 1716-1723 explores these questions in an early modern context. When a troupe of commedia dell’arte actors were invited by the French crown to establish a theatre in Paris, they found their transition was anything but easy. They had to learn a new language and adjust to French expectations and demands. This study presents their story as a dynamic model of coping with the challenges of migration, whereby the actors made their transnational identity a central focus of their comedy. Relating their work to popular twenty-first century comedians, this book also discusses the tools and ideas that contextualize the border-crossing comedian’s work—including diplomacy, translation, improvisation, and parody—across time.
D'une scène à l'autre, l'opéra italien en Europe: La musique à l'épreuve du théâtre
L'opéra italien n'a cessé de s'enrichir au contact de la littérature française. Les échanges entre ces deux genres se caractérisent par le double jeu de proximité et de distance qui existe entre eux. La recherche en dramaturgie musicale éclaire les questions auxquelles sont confrontés traducteurs, librettistes et compositeurs dans leur travail de réécriture pour la scène lyrique italienne.
Romeo and Juliet overture ; and, Capriccio italien
Written in 1869 and revised up to 1880, the "Romeo and Juliet Overture" was Tchaikovsky's first acknowledged masterpiece and today remains among the most popular orchestral compositions ever written. Composed when Tchaikovsky was 29, the "Overture, " according to "Grove's Dictionary, "was "carried out with such ardent conviction that the work seems to glow and throb with youthful passion and tenderness." By comparison, his brilliantly scored "Capriccio Italien" is a spirited evocation of Mediterranean life and scenery, animated and full of vitality. A work, says Grove's, "of unshadowed gaiety and abounding in striking effects." Written in 1880, when Tchaikovsky's position in the music world ...
Festival Overture on the Danish National Hymn, Opus 15, and Capriccio Italien, Opus 45
From the Complete Works, Russian Edition.
