The Limits Of Performance In The French Romantic Theatre
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| Author | : Susan McCready |
| Publisher | : Durham Modern Languages |
| Total Pages | : 158 |
| Release | : 2007 |
| Genre | : French drama |
| ISBN | : 9780907310594 |
This volume analyzes major French plays of the 1830s, focusing on their theatricality, and on the ways in which they expose the workings of the theater rather than conceal them. Through an examination of performance within these plays, the study posits that the stage is a privileged site of demonstration, a literal "proving ground" that lends a physical reality to abstract values announced in the text and shared or questioned by the audience. Negotiating between the literary study of drama and performance theory, this work breaks new ground in nineteenth-century theater scholarship while proposing a fresh direction in the study of text and performance. The Limits of Performance challenges conventional wisdom, offering a novel take on the mal du siècle, that thematic hardy perennial of French Romanticism and the nineteenth century in general, combined with eminently readable and, therefore, compelling analysis of plays - a thought-provoking addition to work in the field (Glyn Hambrook, Modern and Contemporary France, November 2008).
| Author | : Paul Hamilton |
| Publisher | : Oxford University Press |
| Total Pages | : 865 |
| Release | : 2016-01-14 |
| Genre | : Literary Criticism |
| ISBN | : 0191064971 |
TThe Oxford Handbook to European Romanticism brings together leading scholars in the field to examine the intellectual, literary, philosophical, and political elements of European Romanticism. The book focuses on the cultural history of the period extending from the French Revolution to the uprisings of 1848. It begins with a series of chapters examining key texts written by major writers in languages including: French; German; Italian; Spanish; Russian; Hungarian; Greek; and Polish amongst others. A second section then explores the naturally inter-disciplinary quality of Romanticism, exemplified by the different discourses with which writers of the time set up an internal, comparative dynamic. These chapters highlight the sense a discourse gives of being written knowledgeably against other pretenders to completeness or comprehensiveness of self-understanding of the time. Discourses typically advance their own claims to resume European culture, collaborating with and at the same time trying to assimilate each other in the process. The main examples featured here are: history; geography; drama; theology; language; philosophy; political theory; the sciences; and the media. Each chapter offers an original and individual interpretation of an inherently comparative world of individual writers and the discursive idioms to which they are historically subject. Together the forty-one chapters provide a comprehensive and provocative overview of European Romanticism.
| Author | : Susan McCready |
| Publisher | : Lexington Books |
| Total Pages | : 177 |
| Release | : 2016-09-21 |
| Genre | : Performing Arts |
| ISBN | : 1498522793 |
Staging Francebetween the World Wars aims to establish the nature and significance of the modernist transformation of French theater between the world wars, and to elucidate the relationship between aesthetics and the cultural, economic, and political context of the period. Over the course of the 1920s and 30s, as the modernist directors elaborated a theatrical tradition redefined along new lines: more abstract, more fluid, and more open to interpretation, their work was often contested, especially when they addressed the classics of the French theatrical repertory. This study consists largely of the analysis of productions of classic plays staged during the interwar years, and focuses on the contributions of Jacques Copeau and the Cartel because of their prominence in the modernist movement and their outspoken promotion of the role of the theatrical director in general. Copeau and the Cartel began on the margins of theatrical activity, but over the course of the interwar period, their movement gained mainstream acceptance and official status within the theater world. Tracing their trajectory from fringe to center, from underdogs to elder statesmen, this study illuminates both the evolution of the modernist aesthetic and the rise of the metteur-en-scène, whose influence would reshape the French theatrical canon.
| Author | : Claire Moran |
| Publisher | : Routledge |
| Total Pages | : 352 |
| Release | : 2017-07-05 |
| Genre | : Art |
| ISBN | : 1351547860 |
Restoring the role of theatrical performance as both subject and trope in the aesthetics of self-representation, Staging the Artist questions how nineteenth-century French and Belgian artists self-consciously fashioned their identities through their art and writings. This emphasis on performance allows for a new understanding of the processes of self-fashioning which underlie self-representation in word and image. Claire Moran offers new interpretations of works by major nineteenth-century figures such as Paul Gauguin and Edgar Degas, and addresses the neglected topic of the function of theatre in the development of modern visual art. Incarnating Baudelaire's metaphor of the artist as an actor ever-conscious of his role, the artists discussed "Courbet, Ensor and Van Gogh, among others" employed theatre as both a thematic source and formal inspiration in their painting, writings and social behaviour. Moran argues that what renders this visual, literary and social performance modern is its self-consciousness, which in turn serves as a model with which to challenge pictorial convention. This book suggests that tracing modern performance and artistic identity to the nineteenth century provides a greater understanding not only of the significance of theatre in the development of modern art, but also highlights the self-conscious staging inherent to modern artistic identity.
| Author | : J. Johnston |
| Publisher | : Springer |
| Total Pages | : 376 |
| Release | : 2014-12-04 |
| Genre | : History |
| ISBN | : 1137452900 |
Filling a critical void, this book examines French women dramatists of the nineteenth-century who staged works prior to the lifting of censorship laws in 1864. Though none staged overtly feminist drama, Sophie de Bawr, Sophie Gay, Virginie Ancelot, and Delphine Girardin questioned patriarchal dominance and reconstructed ideals of womanhood.
| Author | : Roberta Barker |
| Publisher | : University of Iowa Press |
| Total Pages | : 313 |
| Release | : 2023-01-04 |
| Genre | : Literary Criticism |
| ISBN | : 1609388615 |
"Symptoms of the Self offers the first full study of one of the most paradoxically popular figures in transatlantic theatre history: the stage consumptive. Consumption, or tuberculosis, remains one of the world's most deadly epidemic diseases; in the nineteenth and early twentieth centuries in France, Britain, and North America, it was a leading killer, responsible for the deaths of as many as one in four members of the population. Despite-or perhaps because of-their horrific experiences of tubercular mortality, throughout the nineteenth and well into the twentieth century audiences in these same countries flocked to see consumptive characters love, suffer, and die onstage. Beginning with the origins of the stage consumptive in Romantic-era France and ranging through to the queer theatres of New York City in the 1970s, this book explores famous plays such as La dame aux camélias (Camille) and Uncle Tom's Cabin alongside rediscovered sentimental dramas, frontier melodramas, and naturalistic problem plays. It shows how theatre artists used the symptoms of tuberculosis to perform the inward emotions and experiences of the modern self, and how the new theatrical vocabulary of realism emerged out of the innovations of the sentimental stage. In the theatre, the consumptive character became a vehicle through which-for better and for worse-standards of health, beauty, and virtue were imposed; constructions of class, gender, and sexuality were debated; the boundaries of nationhood were transgressed or maintained; and an exceedingly fragile whiteness was held up as a dominant social ideal. By telling the story of tuberculosis on the transatlantic stage, Symptoms of the Self aims to uncover some of the wellsprings of modern Western theatrical practice-and of ideas about the self that still affect the way human beings live and die"--
| Author | : Sharon Lubkemann Allen |
| Publisher | : Manchester University Press |
| Total Pages | : 394 |
| Release | : 2015-11-01 |
| Genre | : Literary Criticism |
| ISBN | : 1526102757 |
An innovative, interdisciplinary, incisive scholarly study remapping and redefining domains and dynamics of modernism, EccentriCities: Writing in the margins of modernism critically considers how geo-historically distant and disparate urban sites, concentrating Russian and Luso-Brazilian cultural dialogue and definition, give rise to peculiarly parallel anachronistic and alternative fictional forms. While comparatively reframing these literary traditions through an extensive survey of Russian and Brazilian literature, cartography, urban design and development, foregrounding innovative close readings of works by Gogol, Dostoevsky, Bely, Almeida, Machado de Assis, Lima Barreto, Mário de Andrade, the book also redefines new constellations (eccentric, concentric, ex-centric) for understanding geo-cultural and generic dimensions of modernist and post-modern literature and theory.
| Author | : Frederick White |
| Publisher | : Manchester University Press |
| Total Pages | : 420 |
| Release | : 2015-11-01 |
| Genre | : Literary Criticism |
| ISBN | : 1526102129 |
Early in the twentieth century, Russia was experiencing a decadent period of cultural degeneration just as science was developing ways to identify medical conditions which supposedly reflected the health of the entire nation. Leonid Andreev, the leading literary figure of his time, stepped into the breach of this scientific discourse with literary works about degenerates. The spirited social debates on mental illness, morality and sexual deviance which resulted from these works became part of the ongoing battle over the definition and depiction of the irrational, complicated by Andreev’s own publicised bouts with neurasthenia. This book examines the concept of pathology in Russia, the influence of European medical discourse, the development of Russian psychiatry, and the role that it had in popular culture, by investigating the life and works of Andreev. It engages the emergence of psychiatry and the role that art played in the development of this objective science.
| Author | : Cary Hollinshead-Strick |
| Publisher | : Northwestern University Press |
| Total Pages | : 203 |
| Release | : 2019-07-15 |
| Genre | : Performing Arts |
| ISBN | : 0810140373 |
New media are often greeted with suspicion by older media. The Fourth Estate at the Fourth Wall explores how, when the commercial press arrived in France in 1836, popular theater critiqued its corruption, its diluted politics, and its tendency to orient its content toward the lowest common denominator. July Monarchy plays, which provided affordable entertainment to a broad section of the public, constitute a large, nearly untapped reservoir of commentary on the arrival of the forty-franc press. Vaudevilles and comedies ask whether journalism that benefits from advertisement can be unbiased. Dramas explore whether threatening to spread false news is an acceptable way for journalists to exercise their influence. Hollinshead-Strick uses both plays and novels to show that despite their claims to enlighten their readers, newspapers were often accused of obscuring public access to information. Balzac’s interventions in this media sphere reveal his utopian views on print technology. Nerval’s and Pyat’s demonstrate the nefarious impact that corrupt theater critics could have on authors and on the public alike. Scholars of press and media studies, French literature, theater, and nineteenth-century literature more generally will find this book a valuable introduction to a cross-genre debate about press publicity that remains surprisingly resonant today.
| Author | : Evelyn Birge Vitz |
| Publisher | : Boydell & Brewer |
| Total Pages | : 342 |
| Release | : 1999 |
| Genre | : Literary Criticism |
| ISBN | : 9780859915380 |
This book proposes a fundamental revision of the history of early French romance: it argues that oral and performed traditions were far more important in the development of romance than scholars have recognised. Starting with issues of orality and literacy, it is argued that the form in which romances were composed was not the invention of clerics but was, rather, an oral form. The second part of the book looks at performance, and shows that romances such as those of Chretien invited voiced presentation; moreover, they were frequently recited from memory, sung, and acted out in dramatic fashion. Romances can, and should, still be performed today.
