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Author: Felicia McCarren
Publisher: Oxford University Press
ISBN: 0190061847
Category : Performing Arts
Languages : en
Pages : 225
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Book Description
In 1866, when the ballet La Source debuted, the public at the Paris Opera may have been content to dream about its setting in the verdant Caucasus, its exotic Circassians, veiled Georgians, and powerful Khan. Yet the ballet's botany also played to a public thinking about ethnic and exotic others at the same time-and in the same ways-as they were thinking about plants. Along with these stereotypes, with a flower promising hybridity in a green ecology, and the death of the embodied Source recuperated as a force for regeneration, the ballet can be read as a fable of science and the performance as its demonstration. Programmed for the opening gala of the new Opera, the Palais Garnier, in 1875 the ballet reflected not so much a timeless Orient as timely colonial policy and engineering in North Africa, the management of water and women. One Dead at the Paris Opera Ballet takes readers to four historic performances, over 150 years, showing how-- through the sacrifice of a feminized Nature-- La Source represented the biopolitics of sex and race, and the cosmopolitics of human and natural resources. Its 2011 reinvention at the Paris Opera, following the adoption of new legislation banning the veil in public spaces, might have staged gender and climate justice in sync with the Arab Spring, but opted instead for luxury and dream. Its 2014 reprise might have focused on decolonizing the stage or raising eco-consciousness, but exemplified the greater urgency attached to Islamist threat rather than imminent climate catastrophe, missing the ballet's historic potential to make its audience think.
Author: Felicia McCarren
Publisher: Oxford University Press
ISBN: 0190061847
Category : Performing Arts
Languages : en
Pages : 225
Get Book Here
Book Description
In 1866, when the ballet La Source debuted, the public at the Paris Opera may have been content to dream about its setting in the verdant Caucasus, its exotic Circassians, veiled Georgians, and powerful Khan. Yet the ballet's botany also played to a public thinking about ethnic and exotic others at the same time-and in the same ways-as they were thinking about plants. Along with these stereotypes, with a flower promising hybridity in a green ecology, and the death of the embodied Source recuperated as a force for regeneration, the ballet can be read as a fable of science and the performance as its demonstration. Programmed for the opening gala of the new Opera, the Palais Garnier, in 1875 the ballet reflected not so much a timeless Orient as timely colonial policy and engineering in North Africa, the management of water and women. One Dead at the Paris Opera Ballet takes readers to four historic performances, over 150 years, showing how-- through the sacrifice of a feminized Nature-- La Source represented the biopolitics of sex and race, and the cosmopolitics of human and natural resources. Its 2011 reinvention at the Paris Opera, following the adoption of new legislation banning the veil in public spaces, might have staged gender and climate justice in sync with the Arab Spring, but opted instead for luxury and dream. Its 2014 reprise might have focused on decolonizing the stage or raising eco-consciousness, but exemplified the greater urgency attached to Islamist threat rather than imminent climate catastrophe, missing the ballet's historic potential to make its audience think.
Author: Felicia McCarren
Publisher: Oxford University Press
ISBN: 0190061839
Category : Performing Arts
Languages : en
Pages : 304
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Book Description
In 1866, when the ballet La Source debuted, the public at the Paris Opera may have been content to dream about its setting in the verdant Caucasus, its exotic Circassians, veiled Georgians, and powerful Khan. Yet the ballet's botany also played to a public thinking about ethnic and exotic others at the same time-and in the same ways-as they were thinking about plants. Along with these stereotypes, with a flower promising hybridity in a green ecology, and the death of the embodied Source recuperated as a force for regeneration, the ballet can be read as a fable of science and the performance as its demonstration. Programmed for the opening gala of the new Opera, the Palais Garnier, in 1875 the ballet reflected not so much a timeless Orient as timely colonial policy and engineering in North Africa, the management of water and women. One Dead at the Paris Opera Ballet takes readers to four historic performances, over 150 years, showing how-- through the sacrifice of a feminized Nature-- La Source represented the biopolitics of sex and race, and the cosmopolitics of human and natural resources. Its 2011 reinvention at the Paris Opera, following the adoption of new legislation banning the veil in public spaces, might have staged gender and climate justice in sync with the Arab Spring, but opted instead for luxury and dream. Its 2014 reprise might have focused on decolonizing the stage or raising eco-consciousness, but exemplified the greater urgency attached to Islamist threat rather than imminent climate catastrophe, missing the ballet's historic potential to make its audience think.
Author: Felicia McCarren
Publisher: Oxford University Press, USA
ISBN: 9780190061821
Category : Performing Arts
Languages : en
Pages : 224
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Book Description
In 1866, when the ballet La Source debuted, the public at the Paris Opera might have been content to dream about the setting in the verdant Caucasus, exotic Circassians, veiled Georgians, and powerful Khans. In the ballet's two plotlines, an ecological narrative of the death of the Source and the withering of the green world, and the competing interests of Muslim characters at war, this book finds not so much a timeless Orientalist fantasy as a timely commentary on colonial policy, institutional biopower, and human hybridity. In 1866, the daily and specialized humorist press showed a particular interest in the ballet's botany as shorthand for sex, as part of ongoing debates about libertine sexuality, and about ethnicity and hybridity. In One Dead at the Paris Opera Ballet, author Felicia McCarren contextualizes appreciation of the ballet in its production and reception, surrounded by a broad popular culture and iconography of botany, and attended to by people thinking about ethnic and exotic others at the same time-and in the same ways-as they are thinking about plants. The book traces stagings of the ballet up to the Garnier Opera house in 2011 and 2014 when the ballet was re-imagined from the score and libretto. Throughout the book, McCarren reveals the postcolonial, eco-feminist potential implicit in the historical libretto, in some ways disavowed by the Opera's rhetoric surrounding the modern production.
Author: John Denison Champlin (jr.)
Publisher:
ISBN:
Category :
Languages : en
Pages : 508
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Author: John Denison Champlin
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 508
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Author: Ivor Guest
Publisher: Dance Books Limited
ISBN:
Category : Performing Arts
Languages : en
Pages : 198
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The cradle of ballet, tracing the origin of ballet as a theatre art back to its foundation by Louis XIV in 1669.
Author:
Publisher:
ISBN:
Category : Church music
Languages : en
Pages : 852
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Author: John Denison Champlin
Publisher:
ISBN:
Category : Composers
Languages : en
Pages : 508
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Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 640
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Author: John A. Willis
Publisher:
ISBN:
Category : Dance
Languages : en
Pages : 232
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