The 'ballet d'action' was one of the most successful and controversial forms of theatre in the early modern period. A curious hybrid of dance, mime and music, its overall and overriding intention was to create drama. It was danced drama rather than dramatic dance, musical drama rather than dramatic music. Most modern critical studies of the ballet d'action treat it more narrowly as stage dance and very few view it as part of the history of mime. Little use has previously been made of the most revealing musical evidence. This innovative book does justice to the distinctive hybrid nature of the ballet d'action by taking a comparative approach, using contemporary literature and literary criticism, music, mime and dance from a wide range of English and European sources. Edward Nye presents a fascinating study of this important and influential part of eighteenth-century European theatre.
Opera in the first half of the eighteenth century saw the rise of the memorable composer and the memorable work. Recent research on this period has been especially fruitful, showing renewed interest in how opera operated within its local cultures, what audience members felt was at stake in opera performances, who the people - composers and performers - were who made opera possible. The essays for this volume capture the principal themes of current research: the 'idea' of opera, opera criticism, the people of opera, and the emerging technologies of opera.
During the seventeenth and eighteenth centuries, France became notorious across Europe for its ambitious attempts to codify and theorise a system of universally valid 'rules' for successful theatre. Inventing the Spectator reads the period's dramatic theory against the grain, exploring not plays or playwrights but rather the spectator: the living, breathing individual in whose mind, senses, and experience the theatre comes to life. Bridging the gap betweenliterary and theatre studies, history of psychology, and intellectual history, Inventing the Spectator reconstructs the theatre spectator's experience as it was understood in France between the Renaissanceand the Revolution. As well as offering in-depth discussions of key dramatic theoreticians (d'Aubignac, Corneille, Dubos, Rousseau, and Diderot), this study raises numerous questions - of imagination and illusion, reason and emotion, pleasure and narrative, vision and hearing, interest and identification - that strike at the very heart of human psychology, cognition, and experience.
This Oxford Companion is based on the celebrated Oxford Encyclopedia of Theatre and Performance, and covers styles and movements, organizations, regions and traditions. It has 2,400 entries. The timeline of historical and cultural events in the world of theatre and performance has been significantly updated, along with the extensive bibliography.
Provides access to nearly 2,000 articles on all aspects of dance, including theatrical, ritual, dance-drama, folk, traditional, ethnic, and social dance. Cultural and national overviews are accompanied by entries on dance forms, music and costumes, performances, and biographies of dancers and choreographers.
Covers all topics related to music, including musical instruments, compositional forms and scientific topics. Biographical entries cover composers, performers and writers. Offers links to related sites including sound archives.