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Author: Andrew R. Walkling
Publisher: Routledge
ISBN: 1315524201
Category : Music
Languages : en
Pages : 363
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Book Description
English Dramatick Opera, 1661–1706 is the first comprehensive examination of the distinctively English form known as "dramatick opera", which appeared on the London stage in the mid-1670s and lasted until its displacement by Italian through-composed opera in the first decade of the eighteenth century. Andrew Walkling argues that, while the musical elements of this form are crucial to its definition and history, the origins of the genre lie principally in a tradition of spectacular stagecraft that first manifested itself in England in the mid-1660s as part of a hitherto unidentified dramatic sub-genre, to which Walkling gives the name "spectacle-tragedy". Armed with this new understanding, the book explores a number of historical and interpretive issues, including the physical and rhetorical configurations of performative spectacle, the administrative maneuverings of the two "patent" theatre companies, the construction and deployment of the technologically advanced Dorset Garden Theatre in 1670–71, the critical response to generic, technical, and ideological developments in Restoration drama, and the shifting balance between machine spectacle and song-and-dance entertainment throughout the later decades of the seventeenth century, including in the dramatick operas of Henry Purcell. This study combines the materials and methodologies of music history, theatre history, literary studies, and bibliography to fashion an entirely new approach to the history of spectacular and musical drama on the English Restoration stage. This book serves as a companion to the Routledge publication Masque and Opera in England, 1656–1688 (2017).
Author: Andrew R. Walkling
Publisher: Routledge
ISBN: 1315524201
Category : Music
Languages : en
Pages : 363
Get Book Here
Book Description
English Dramatick Opera, 1661–1706 is the first comprehensive examination of the distinctively English form known as "dramatick opera", which appeared on the London stage in the mid-1670s and lasted until its displacement by Italian through-composed opera in the first decade of the eighteenth century. Andrew Walkling argues that, while the musical elements of this form are crucial to its definition and history, the origins of the genre lie principally in a tradition of spectacular stagecraft that first manifested itself in England in the mid-1660s as part of a hitherto unidentified dramatic sub-genre, to which Walkling gives the name "spectacle-tragedy". Armed with this new understanding, the book explores a number of historical and interpretive issues, including the physical and rhetorical configurations of performative spectacle, the administrative maneuverings of the two "patent" theatre companies, the construction and deployment of the technologically advanced Dorset Garden Theatre in 1670–71, the critical response to generic, technical, and ideological developments in Restoration drama, and the shifting balance between machine spectacle and song-and-dance entertainment throughout the later decades of the seventeenth century, including in the dramatick operas of Henry Purcell. This study combines the materials and methodologies of music history, theatre history, literary studies, and bibliography to fashion an entirely new approach to the history of spectacular and musical drama on the English Restoration stage. This book serves as a companion to the Routledge publication Masque and Opera in England, 1656–1688 (2017).
Author: Thomas McGeary
Publisher: Boydell & Brewer
ISBN: 1837651698
Category : History
Languages : en
Pages : 375
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Book Description
Explores the intersection of the world of opera, literature and partisan politics to show how Italian opera was put to use in the 'culture wars' of the day. This last of a trilogy of books on opera and politics in Britain examines the cultural politics of opera during the ministerial reign of Sir Robert Walpole from 1720 to 1742. The book explores the intersection of the world of opera, literature, and partisan politics to show how Italian opera - with its associations with the court, ministry and Britain's social-political elite - was put to use in the 'culture wars' of the day: how Italian opera was used for partisan political advantage; how political work could be accomplished by means of opera. It shows that attacks on opera had ulterior targets. The book surveys a range of often overlooked verse and prints to show how critique or satire of opera were a means for oppositional writers to delegitimize the Walpole ministry. Polemicists framed opera as a consequence of the corruption, luxury and False Taste generated by Walpole's ministry. It closes in the watershed year 1742: Handel had produced the last of his Italian operas the previous year, Walpole fell from power, and Alexander Pope published the last book of his Dunciad project.
Author: Deborah C. Payne
Publisher: Cambridge University Press
ISBN: 1009398210
Category : Drama
Languages : en
Pages : 303
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Book Description
Deborah C. Payne explores how the duopoly of 1660 impacted company practices, stagecraft, the box office, and actors and writers.
Author: Anna Battigelli
Publisher: Rutgers University Press
ISBN: 1644533138
Category : Literary Criticism
Languages : en
Pages : 185
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Book Description
The ten essays in Literature and the Arts explore the intermedial plenitude of eighteenth-century English culture, honoring the memory of James Anderson Winn, whose work demonstrated how seeing that interplay of the arts and literature was essential to a full understanding of Restoration and eighteenth-century English culture. Scenery, machinery, music, dance, and texts transformed one another, both enriching and complicating generic distinctions. Artists were alive to the power of the arts to reflect and shape reality, and their audience was quick to turn to the arts as performative pleasures and critical lenses through which to understand a changing world. This collection's eminent authors discuss estate design, musicalized theater, the visual spectacle of musical performance, stage machinery and set designs, the social uses of painting and singing, drama’s reflection of a transformed military infrastructure, and the arts of memory and of laughter.
Author: Amanda Eubanks Winkler
Publisher: Cambridge University Press
ISBN: 1009241249
Category : Literary Criticism
Languages : en
Pages : 245
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Book Description
Performing Restoration Shakespeare embraces the performative and musical qualities of Restoration Shakespeare (1660–1714), drawing on the expertise of theatre historians, musicologists, literary critics, and - importantly - theatre and music practitioners. The volume advances methodological debates in theatre studies and musicology by advocating an alternative to performance practices aimed at reviving 'original' styles or conventions, adopting a dialectical process that situates past performances within their historical and aesthetic contexts, and then using that understanding to transform them into new performances for new audiences. By deploying these methodologies, the volume invites scholars from different disciplines to understand Restoration Shakespeare on its own terms, discarding inhibiting preconceptions that Restoration Shakespeare debased Shakespeare's precursor texts. It also equips scholars and practitioners in theatre and music with new - and much needed - methods for studying and reviving past performances of any kind, not just Shakespearean ones.
Author: Christopher R. Wilson
Publisher: Oxford University Press
ISBN: 0190945141
Category : Drama
Languages : en
Pages : 1289
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Book Description
"This compendium reflects the latest international research into the many and various uses of music in relation to Shakespeare's plays and poems, the contributors' lines of enquiry extending from the Bard's own time to the present day. The coverage is global in its scope, and includes studies of Shakespeare-related music in countries as diverse as China, the Czech Republic, France, Germany, India, Italy, Japan, Russia, South Africa, Sweden, and the Soviet Union, as well as the more familiar Anglophone musical and theatrical traditions of the UK and USA. The range of genres surveyed by the book's team of distinguished authors embraces music for theatre, opera, ballet, musicals, the concert hall, and film, in addition to Shakespeare's ongoing afterlives in folk music, jazz, and popular music. The authors take a range of diverse approaches: some investigate the evidence for performative practices in the Early Modern and later eras, while others offer detailed analyses of representative case studies, situating these firmly in their cultural contexts, or reflecting on the political and sociological ramifications of the music. As a whole, the volume provides a wide-ranging compendium of cutting-edge scholarship engaging with an extraordinarily rich body of music without parallel in the history of the global arts"--
Author: Valeria De Lucca
Publisher: Routledge
ISBN: 1315465876
Category : Music
Languages : en
Pages : 234
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Book Description
Music and space in the early modern world shaped each other in profound ways, and this is particularly apparent when considering Rome, a city that defined itself as the "grande teatro del mondo". The aim of this book is to consider music and space as fundamental elements in the performance of identity in early modern Rome. Rome’s unique milieu, as defined by spiritual and political power, as well as diplomacy and competition between aristocratic families, offers an exceptionally wide array of musical spaces and practices to be explored from an interdisciplinary perspective. Space is viewed as the theatrical backdrop against which to study a variety of musical practices in their functions as signifiers of social and political meanings. The editors wish to go beyond the traditional distinction between music theatrical spectacles – namely opera – and other musical genres and practices to offer a more comprehensive perspective on the ways in which not only dramatic, but also instrumental music and even the sounds of voices and objects in the streets relied on the theatrical dimension of space for their effectiveness in conveying social and political messages. While most chapters deal with musical performances, some focus on specific aspects of the Roman soundscape, or are even intentionally "silent", dealing with visual arts and architecture in their performative and theatrical aspects. The latter offer a perspective that creates a visual counterpoint to the ways in which music and sound shaped space.
Author: Andrew Walkling
Publisher: Routledge
ISBN: 1317099699
Category : Music
Languages : en
Pages : 388
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Book Description
Masque and Opera in England, 1656–1688 presents a comprehensive study of the development of court masque and through-composed opera in England from the mid-1650s to the Revolution of 1688–89. In seeking to address the problem of generic categorization within a highly fragmentary corpus for which a limited amount of documentation survives, Walkling argues that our understanding of the distinctions between masque and opera must be premised upon a thorough knowledge of theatrical context and performance circumstances. Using extensive archival and literary evidence, detailed textual readings, rigorous tabular analysis, and meticulous collation of bibliographical and musical sources, this interdisciplinary study offers a host of new insights into a body of work that has long been of interest to musicologists, theatre historians, literary scholars and historians of Restoration court and political culture, but which has hitherto been imperfectly understood. A companion volume will explore the phenomenon of "dramatick opera" and its precursors on London’s public stages between the early 1660s and the first decade of the eighteenth century.
Author:
Publisher: Cambridge University Press
ISBN: 0521823595
Category :
Languages : en
Pages : 379
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Book Description
Author: Jennifer Thorp
Publisher: Liverpool University Press
ISBN: 1835533388
Category : Music
Languages : en
Pages : 388
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Book Description
The Gentleman Dancing-Master: Mr Isaac and the English Royal Court from Charles II to Queen Anne considers the life and times of the dancer known as Mr Isaac, performer, teacher and creator of prestigious dances for performance at the royal court. Includes facsimiles and discussion of his surviving dances and their context.
