Zwischen Wagnerismus und Verismo Fischer, Jens Malte
Archiv für Musikwissenschaft,
2012, Letnik:
69, Številka:
2
Journal Article
Recenzirano
The essay examines German opera's precarious development, with special emphasis on the libretti, in the aftermath of Wagner's legacy, between ca. 1900 and 1920. The success of the fairy-tale opera as ...invisioned by Humperdinck and Siegfried Wagner was, with the exception of Hänsel und Gretel, short-lived—a condition that distracts from the fact that the artistically far more interesting Königskinder by Humperdinck, alongside Hans Pfitzner's Der arme Heinrich, were the most impressive examples of relevant and autonomous German opera in the wake of Wagner. Thoroughly independent of Wagner's orbit were the temporarily successful comic operas of German-Italian composer Ermanno Wolf-Ferrari, which were based on commedia-dell-arte plays by Carlo Goldoni, while German experiments in Italian verismo were ultimately not viable (notable exceptions are Wolf-Ferrari's I Gioelli della madonna and Max von Schilling's Mona Lisa). In spite of its impressive score, the enormously gifted Austrian composer Franz Schmidt's second and last opera (Fredegundis) met with failure, thanks to its tedious libretto. The Gordian knot of this unfruitful situation was finally severed with Franz Schreker's Der ferne Klang and Die Gezeichneten, both based on his own libretti.
This thesis documents my journey, as an MFA candidate, through the building, development and growth of Florindo Aretusi in Regent University’s production of The Servant of Two Masters by Carlo ...Goldoni. The introduction of this thesis document outlines a summary of specific challenges I expect to encounter through this thesis process. Chapter One is composed of historical research of the playwright, play and commedia dell’arte. Chapter Two consists of my textual analysis of the play, including the structure of the plot, the suggested controlling and counter ideas, as well as spine phrases for all major characters. Chapter Three dives into an in-depth character analysis of Florindo Aretusi, including Florindo’s backstory, his unique spine phrase, sample beat work and physical and vocal techniques that will be practiced and implemented to bring Florindo to life. Chapter Four includes a rehearsal and performance log that documents my process through the journey. Chapter Five reflects on major discoveries, criticism I received, as well as advice I have for future actors who will tackle of the role of Florindo. The Appendices include the rehearsal schedule, a brief sample of my free associative writing, the program and promotional materials, and production photos.
This dissertation traces the emergence in late eighteenth-century Italy of an ideological connection between voice and subjectivity, arguing that this link was forged as a means of assuaging ...anxieties about Italy’s role in European culture. For most of the century, virtuosic voices had dominated Italian “serious” opera: onstage, singers flaunted flashy embellishments while projecting the static categories of the Cartesian passions. But after midcentury, as new epistemologies of emotion converged with neoclassical aesthetics, Italian musicians and literati increasingly criticized those voices as inauthentic and unfeeling. In order to redeem voice, and with it Italian culture, reform-minded singers and intellectuals rebranded Italy’s most famous export as an agent of moral edification. They asserted that voice could make audible the interiority of a feeling subject, and potentially represent the political agency of that subject. Some reformers even attributed to certain voices the power to civilize humanity by cultivating feeling, inspired by the myth of Orpheus’s lyric song. The resulting complex of discourses and practices is what the dissertation calls “the lyric mode of voice,” a phrase which combines the ancient generic definition of lyric as musical poetry with the late-eighteenth-century literary mode characterized by emotional intensity, vivid subjectivity, and expressive immediacy. The dissertation explores the lyric mode of voice through representations of two archetypal poet-singers, or lyric figures: Orpheus and Sappho, who functioned both onstage and in literature as dynamic symbols of “authentic,” subjective vocal expression. By articulating the ways in which the lyric voice was rendered as cultural and political power, this dissertation unpacks still-resonant myths about uniqueness and agency. It does so by interweaving historically-situated musical analysis with interpretive threads from literary theory and philosophy. It thus intervenes in musicology by placing historical musical-vocal practices into dialogue with intellectual history, and contributes to Italian studies, eighteenth-century studies, and the history of ideas by demonstrating how intellectual histories might be excavated from the residues of sonic practices. In approaching voice as both a discursive category and a set of culturally contingent practices, the dissertation ultimately considers how historical ideologies and practices of voice together inflected “modern” constructions of subjectivity.
What was the historiography of Il mondo nuovo, a fresco painted in 1791 by Giandomenico Tiepolo? How did its title emerge? Giandomenico likely found the inspiration for his subject in popular ...entertainment on Venice's Piazzetta. The houselike structure in the fresco's middle ground-a peep show-had been labeled il mondo nuovo by the eighteenth-century playwright Carlo Goldoni. Yet the fresco was not named until after 1906. Art historian Pompeo Molmenti introduced the Goldoni-inspired title, his efforts seconded by Corrado Ricci, a powerful art administrator. Both were steeped in the "politics of nostalgia," associated with the Italian Aesthetic movement.
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NMLJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK, ZRSKP
This thesis encompasses the process of discovering the character Pantalone de’ Bisognosi in Carlo Goldoni’s, The Servant of Two Masters, performed at Regent University. The introduction offers a ...summary of foreseen challenges that I expect to approach in portraying Pantalone and strategies for overcoming them. Chapter one will consist of a compilation of the research behind the play and character. Chapter two will cover textual analysis of the script, the controlling and counter idea of the play, and spine phrases of all main characters. Chapter three offers character analysis on Pantalone de’ Bisognosi, and techniques and exercises applied to work through the foreseen challenges presented in chapter one. Chapter four records personal reflections of the rehearsal process and performances of The Servant of Two Masters. Chapter five concludes with discoveries and insights of my work playing the role of Pantalone de’ Bisognosi. The appendices contain the playbill, concluding with production stills from this show.
Righis Interesse konzentrierte sich zuerst vor allem auf die Erfassung der Veroneser Mundart, doch durchaus nicht im Sinn eines sterilen Heimatmuseums: Er sah in den verschiedenen Dialekten ein ...unbedingt schützenswertes Gut, aber als lebendige Umgangssprache. Zwar gab es, gerade im Einzugsbereich der ehemaligen Republik Venedig, bereits in venezianischen Mundarten zusammengestellte Sammlungen (vor allem das umfangreiche Werk von Domenico Giuseppe Bernoni, um 1870), doch galten sie als den hochsprachlichen Novellenbüchern ebenbürtige Zeugnisse von literarischer Qualität, war der venezianische Dialekt ja immerhin jahrhundertelang Staatssprache gewesen und hatte bereits hochwertige Literatur hervorgebracht - man denke nur an das Theater von Carlo Goldoni. Das gesamte Material (von dem nun der erste Band vorliegt) wird somit in diplomatischer Abschrift zugänglich, begleitet von einer behutsamen Interlinear-Übersetzung in die italienische Standardsprache, die dem NichtRomanisten den Einstieg in den saft- ünd kraftsprtlhenden Dialekt erleichtern soil.
This dissertation explores representations of the cook and the deliveryman— il cuoco e lo zanaiuolo—in Renaissance Italian comedy (1509–1560). The figure of the cook is well established in ancient ...comedy and in Athenaeus’s Deipnosophistae (The Learned Banqueters), and centuries later several playwrights, including Ludovico Ariosto, Agnolo Firenzuola, Alessandro Piccolomini, Giovan Battista Gelli, and Giovanni Maria Cecchi, feature cooks and novel food purveyors in their comedies. In a rapidly changing Early Modern society, culinary professionals provide crucial insight into the sustenance of households in urban centers, mediating how communities interact with their foods. As members of the working class, cooks and deliverymen offer a unique perspective on social dynamics of the period, different from that offered by political and religious courts. Comedies that include these professionals rely, in part, on previous canons to characterize the figures, yet they do so in conversation with contemporary settings and everyday realities of Early Modern Italy. As cooks reappear on the stage throughout the sixteenth century, typified roles establish them as a Renaissance version of the classical stock character. The development of the novel deliveryman as a member of the cast, instead, suggests an increasingly diverse number of professions in Italian city centers and a consequential push towards innovative representations of a more inclusive world in Early Modern theater.
This dissertation examines the multiple definitions of “Commedia dell’Arte” in historiography and contemporary performance, analyzing potentials and problematics behind attempts to understand ...“historical” Commedia dell’Arte and to (re)construct contemporary Commedia using what Franklin J. Hildy calls an “applied theater history” approach. Employing archival historiography, literary analysis, art historical techniques, practical dramaturgy, Practice-as-Research, and qualitative research, I describe different realities of Commedia dell’Arte performance from history and contemporary practice, including ways in which “mistakes” or “appropriations” in the form have become included within its present identities. Chapter One describes the status of the field, problems, and approaches to identifying what Commedia dell’Arte “is” today based upon autoethnography and interview material from contemporary practitioners, whose competing approaches inform the ongoing conversation. Chapter Two traces the history of the form known as “Commedia dell’Arte” from its origins to contemporary pedagogy with special attention given to appropriations, evolutions, distortions, and efforts at reproduction. In Chapter Three, I narrow the focus to a specific case-study—a recent production of the classic scenario Il Cavadente (The Tooth-Puller) from the Commedia dell’Arte repertoire—with special attention to the problematics of translating, interpreting, and reconstructing historical sources as dramatic literary content. Chapter Four describes an art-historical approach to assessing, analyzing, and utilizing iconography from Commedia dell’Arte’s history, while Chapter Five describes a specific attempt to design the visual world for a contemporary production of The Tooth-Puller with reference to competing goals of faithfulness to the tradition and availability for artistic innovation. Chapter Six employs Practice-as-Research (and what I advocate as Research-as-Practice) to embody reimagined characters based on the Commedia archive. Chapter Seven utilizes participant interviews and audience surveys to reflect upon Ole Miss Theatre & Film’s production of The Tooth-Puller, the final (though always fluid) script of which is included as Appendix A. This concluding chapter also reflects, through the voices of contemporary teachers and practitioners, on the nature of Commedia dell’Arte and its place in current actor training and theatrical innovation. While the field of Commedia practitioners today is divided between those who prescribe an “authentic” system for “historical” Commedia and those who freely declare that “Commedia doesn’t exist” in any knowable form, this dissertation models a middle way of interacting faithfully and rigorously with extant data from the past in order to freely create a continuation of the Commedia tradition for the future.
