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.
Dance, Spectacle, and the Body Politick, 1250-1750 by Jennifer Nevile (Editor)
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.
2010, edited by "Dennis Kennedy". "The Oxford Companion to Theatre and Performance is based on the celebrated Oxford Encyclopedia of Theatre and Performance, and covers styles and movements, buildings, organizations, regions and traditions; it has a particularly strong focus on biographies of actors, playwrights, directors, anddesigners. New entries cover the people and companies who have come into prominence since the publication of the Encyclopedia. The Companion includes all the most popular and accessible information from the Encyclopedia, concentrating primarily on the personalities involved in producing threatre, as well as overviews of the genres within which they work. It has 2,400 entries presented in a far more compact and portableformat. The timeline of historical and cultural events in the world of theatre and performance has been significantly updated, along with the extensive bibliography, and an appendix of useful weblinks has been added, which is supported and accessible through a companion website.The Companion provides an informative and accessible package aimed at both the theatre-going public as at specialists and professionals in the field."
1998, edited by Selma Cohen. "Since the dawn of human history, dance has been a vital form of expression in virtually every culture. From the minuet to the tango to kabuki theater to square dancing, it is a part of the social fabric of all societies, as well as an important art form. Now, Oxford presents the firstreference to document all types of dance around the world and throughout history. In six volumes, with nearly 2,000 articles written by scholars from over fifty countries, the International Encyclopedia of Dance offers authoritative coverage of the full spectrum of dance, including theatrical dance, ritual dance-drama, folk, traditional, ethnic, and social dance. Extensivehistorical and cultural overviews of many nations appear along with articles on specific dance forms, music and costumes, dance performances, biographies of dancers and choreographers, and much more. The set is alphabetically arranged, with an exhaustive index, full cross-references, and more than2,000 illustrations. Amazing in its scope and dazzling in its diversity, the International Encyclopedia of Dance is like no other reference work on dance. Accessibly written and arranged for use by a wide audience, it will be an essential addition to any arts and humanities collection."
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.