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Dance and drama in French baroque opera : a history /
Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. This book exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Cambridge, United Kingdom :
Cambridge University Press,
2016.
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| Colección: | Cambridge studies in opera.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Harris-Warrick, Rebecca, |e author. | |
| 245 | 1 | 0 | |a Dance and drama in French baroque opera : |b a history / |c Rebecca Harris-Warrick. |
| 264 | 1 | |a Cambridge, United Kingdom : |b Cambridge University Press, |c 2016. | |
| 300 | |a 1 online resource (xx, 484 pages .) | ||
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| 520 | 8 | |a Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. This book exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement is essential to understanding the work. The book considers the operas of Lully and the 46-year period between the death of Lully and the arrival of Rameau, when influences from the commedia dell'arte and other theatres began to inflect French operatic practices. It explores the intersections of musical, textual, choreographic and staging practices at a complex institution - the Academie Royale de Musique - which upheld as a fundamental aesthetic principle the integration of dance into opera. | |
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Cover; Half-title page; Series page; Title page; Copyright page; Dedication; Contents; List of Figures; Acknowledgements; Notes to the text; List of Abbreviations; Introduction; Part I Lully; 1 The Dramaturgy of Lully's Divertissements; Alceste (1674); Atys (1676); Armide (1686); Inside and Outside the Divertissement; 2 Constructing the Divertissement; Primary Sources; Interpreting the Didascalies; The Mechanics of Lully's Divertissements; The Characters; Staging the Dancers and the Chorus; Dance Inside of Choruses; The Choreographic Treatment of Dance-Songs; Independent Instrumental Dances | |
| 505 | 8 | |a Chaconnes and PassacaillesDivertissement Architecture; The Dramaturgical Implications of Mechanics; Reading the Texts; Text and Action; Celebrations; 3 Dance Foundations; Basic Principles of Baroque Dance; Movement Vocabulary; Dance-Types; Construction of Choreographies; Lully's Dance Troupe; 4 Dance Practices on Stage; The Dancing Forces; Counting the Dancers; Distributing the Dancers; Deploying the Dancers Across a Divertissement; Style and Expression; Musical Characterization; Key; Form; Texture and Orchestration; Phrase Structure; Instrumental Music and Movement; 5 Prologues; Atys; Armide | |
| 505 | 8 | |a 6 The Lighter Side of LullyLes Fêtes de l'Amour et de Bacchus; Cadmus et Hermione, Alceste, and Thésée; Le Carnaval; Psyché; Le Triomphe de l'Amour; Acis et Galatée; Part II The Rival Muses in the Age of Campra; 7 The Muses Take the Stage; Genre Terminology; Sources; Reading the Cast Lists in Librettos; 8 Thalie, Muse of Comedy; The Decade after Lully; "Italy" Comes to the Opéra; L'Europe galante (1697); Les Fêtes vénitiennes (1710); 9 Thalie Visits the Fairs; Appropriated Frames; Operatic Parodies; Dancing Master Scenes; The Masked Ball on Stage; Comic Simultaneity; "Fragments" as a Genre | |
| 505 | 8 | |a 10 The Contested ComicDomestication; Le Carnaval et la Folie (1704); Les Fragments de M. de Lully (1702); Les Fêtes de Thalie (1714); The Realm of the Héroïque; Les Fêtes grecques et romaines (1723); La Reine des Péris (1725); Naturalizing Novelty; 11 Melpomène, Muse of Tragedy; Achille et Polixène (1687); Médée (1693); Tancrède (1702); Hypmermnestre (1716); Jephté (1732); 12 Melpomène Adapts; Three Divertissement Types; Italianisms in the Tragédie en Musique; Pastoral Divertissements; Nautical Divertissements; Lully Revivals; 13 Terpsichore, Muse of the Dance | |
| 505 | 8 | |a The Dance Troupe During the Early Eighteenth CenturyPersonnel and Staffing; The Stars of the Troupe; A Case Study: The Dumoulin Brothers; Crossovers; Les Caractères de la danse and Its Offspring; The Symphonies of Jean-Féry Rebel; Operatic Incarnations; Shared Practices; "Tous vos pas sont des sentiments"; 14 In the Traces of Terpsichore; Notated Choreographies "Dansées à l'Opéra"; Soloists as Choreographers; Dance Types, New or Newly Characterized; "Venetian" Dances; Dances for Arlequin; Peasant Dances; Entrée grave; Menuet; Passepied; Tambourin; Contredanse; Who Dances Where | |
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