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Great Women on Stage : the Reception of Women Monarchs from Antiquity in Baroque Opera.
Baroque opera is entirely plurimedial. Like no other medium, it offers unique possibilities to create, transform and reinterpret common historical images and figures, using different but closely intertwined semantic levels (drama, music, acting). This makes baroque opera a promising subject of histo...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Wiesbaden :
Harrassowitz Verlag,
2017.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Cover; Title Pages; Contents; Acknowledgements; Kerstin Droß-Krüpe: Great Women on Stage: the Reception of Women Monarchs from Antiquity in Baroque Opera; Bibliography; Kerstin Weiand: The Polyvalence of Antiquity: Remarks on the Reception of Classical Antiquity in Early Modern Europe; I. Antiquity and early modernity; II. The polyvalence of antiquity; 1. Antiquity as a source of legitimation; 2. Antiquity and the construction of identities and alterities; 3. Antiquity as a role model; 4. Antiquity as a social code; 5. Antiquity as a learned diversion; III. Conclusion; Bibliography.
- Agnes Garcia-Ventura and Marta Ortega Balanza: The Construction of Femininity in Händel's Agrippina: from History to Dramatic OperaI. Händel's Agrippina in its historical context; II. From Agrippina the Younger (1st century AD) to Händel's Agrippina (18th century AD): history, stories, and music; III. The cultural construction of gender roles: 1st century AD Rome, and 18th and 21st century AD Europe; IV. To conclude: some final thoughts; Bibliography; Valeska Hartmann: Cleopatra in Baroque Opera: the Stage Design Between Depiction of Powerand Adoption of Antiquity.
- I. The scene-painter Johann Oswald Harms and his depiction of Egypt in Cleopatra (1690)1. The image of Egypt in the 17th century as a basis of reception for the scene painters; 2. The conception of history and the function of opera in Baroque; II. The scene-painter Pelagio Palagi and his depiction of Egypt in La morte di Cleopatra (1797); 1. The image of Egypt in the 18th century as a basis of reception for the scene painters; 2. The conception of history and the function of opera at the end of 18th century; III. Conclusion; Bibliography; List of Contributors.