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The Grotesque Dancer on the Eighteenth-century Stage
Italian ballet in the eighteenth century was dominated by dancers trained in the style known as "grotesque"—a virtuoso style that combined French ballet technique with a vigorous athleticism that made Italian dancers in demand all over Europe. Gennaro Magri’s Trattato teorico-prattico di ballo, the only work from the eighteenth century that explains the practices of midcentury Italian theatrical dancing, is a starting point for investigating this influential type of ballet and its connections to the operatic and theatrical genres of its day. The Grotesque Dancer on the Eighteenth-Century Stage examines the theatrical world of the ballerino grottesco, Magri’s own career as a dancer in I...
W. A. Mozart: Così Fan Tutte
At once the most light-hearted and disturbing of Mozart and Da Ponte's Italian comic works, the opera has provoked widely differing reactions from listeners for more than two centuries. This study provides a detailed account of the libretto's complex origins in myth and Italian literary classics.
Gluck and the French Theatre in Vienna
In this richly illustrated study, the Viennese reform of opera and ballet is placed in the context of Christoph Gluck's decade-long involvement with the city's first French theatre, established in 1752. Following a detailed examination of the institutional and cultural frameworks of theatrical life in Maria Theresia's capital (drawing upon important new documentary sources), and of the interaction between Parisian and Viennese repertories, each of the areas of Gluck's activity in the Burgtheater--concerts, opera-comique, and ballet--and their products are examined in turn. Such masterworks as Orfeo ed Euridice and Don Juan are shown to be intimately connected with the regular musical repertory of the French theatre, which was itself rich in innovation; in addition, a large number of works by Gluck (and his colleagues) are identified and analyzed here for the first time.
Fortune and Fatality
As an aesthetic notion and dramatic genre, tragedy has enjoyed a privileged place in French culture, particularly during the early modern period when debates over its nature and philosophy reflected fascination with a style whose fundamental principles were drawn from ancient Greek sources. Through the works of Pierre Corneille and Jean Racine, routinely cited for an alleged regularity of form and content exemplifying the academic notion of French Classicism, tragedy has grounded the French literary canon. Because of its place at the heart of canonical French literary studies, tragedy’s traditionally prescribed boundaries and interpretations have rarely been questioned. Fortune and Fatalit...
Religion, Ritual, Theatre
'Scholars and experts in anthropology, theatricality, ethnoscenology, dance, religious studies, theology, history and art have contributed to the inspiring exchange of intellectual inquiry in this book. It presents the revised lectures and a selection of the revised papers from the international and interdisciplinary conference Religion, Ritual, Theatre which took place in April 2006 at the University of Copenhagen. The aim of the book is to intertwine new theories with concrete case studies in an empirical and practical manner. Case studies from different places and various cultures in Europe, South Africa, the Near East and India demonstrate noticeable parallels concerning the notions of embodiment and practice. Even though these upcoming perspectives share a rather redundant vocabulary they nevertheless seem to contribute to a common ground of a phenomenology of the body, of action and perception'--on backcover.
Ottoman Civilization
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The Hole in the Fabric
In this imaginative and provocative book, Purdy draws upon the work of a such writers as Kurt Vonnegut, Vladimir Nabokov, Alain Robbe-Grillet, GŸnter Grass, Samuel Becket, and Eugene Ionesco to suggest ways in which novelists explore the unknown. His ingenious consideration of Henry James in conjunction with these novelists, as well as with science fiction and detective fiction writers and with mid-century scientific discoveries and advances—black holes, hydrogen bombs, space travel—offers rich, new insights into James's work and into the twentieth-century view of humanity's place in the world.
Ottoman Painting
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