Wagner and the Art of the Theatre
Author | : Patrick Carnegy |
Publisher | : Yale University Press |
Total Pages | : 492 |
Release | : 2006-01-01 |
Genre | : Music |
ISBN | : 9780300106954 |
Chapitre 6, p. 175-207, consacré à Adolphe Appia.
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Author | : Patrick Carnegy |
Publisher | : Yale University Press |
Total Pages | : 492 |
Release | : 2006-01-01 |
Genre | : Music |
ISBN | : 9780300106954 |
Chapitre 6, p. 175-207, consacré à Adolphe Appia.
Author | : Dieter Borchmeyer |
Publisher | : Princeton University Press |
Total Pages | : 430 |
Release | : 2003-11-30 |
Genre | : Music |
ISBN | : 9780691114972 |
Richard Wagner continues to be the most controversial artist in history, a perpetually troubling figure in our cultural consciousness. The unceasing debate over his works and their impact--for and against--is one reason why there has been no genuinely comprehensive modern account of his musical dramas until now. Dieter Borchmeyer's book is the first to present an overall picture of these musical dramas from the standpoint of literary and theatrical history. It extends from the composer's early works--still largely ignored--to the Ring Cycle and Parsifal, and includes Wagner's unfinished works and operas he never set to music. Through lively prose, we come to see Wagner as a librettist--and as a man of letters--rather than primarily as musical composer. Borchmeyer uncovers a vast field of cultural and historical cross-references in Wagner's works. In the first part of the book, he sets out in search of the various archetypal scenes, opening up the composer's dramatic workshop to the reader. He covers all of Wagner's operas, from early juvenilia to the canonical later works. The second part examines Wagner in relation to political figures including King Ludwig II and Bismarck, and, importantly, in light of critical reactions by literary giants--Thomas Mann, whom Borchmeyer calls "a guiding light in this exploration of the fields that Wagner tilled," and Nietzsche, whose appeal to "philology" is a key source of inspiration in attempts to grapple with Wagner's works. For more than twenty years, Borchmeyer has placed his scholarship at the service of the famed Bayreuth Festival. With this volume, he gives us a summation of decades of engagement with the phenomenon of Wagner and, at the same time, the result of an abiding critical passion for his works.
Author | : Dieter Borchmeyer |
Publisher | : Oxford University Press on Demand |
Total Pages | : 423 |
Release | : 1991 |
Genre | : Biography & Autobiography |
ISBN | : 9780193153226 |
Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prosewritings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while his links with the great figures and forms of worldtheatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpectedsidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts (including the problem of anti-Semitism). First published in German in 1982, this book has become established as a standard work ofWagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas.
Author | : Richard Wagner |
Publisher | : U of Nebraska Press |
Total Pages | : 444 |
Release | : 1995-01-01 |
Genre | : Music |
ISBN | : 9780803297654 |
With Richard Wagner, opera reached the apex of German Romanticism. Originally published in 1851, when Wagner was in political exile, Opera and Drama outlines a new, revolutionary type of musical stage work, which would finally materialize as The Ring of the Nibelung. Wagner's music drama, as he called it, aimed at a union of poetry, drama, music, and stagecraft. ø In a rare book-length study, the composer discusses the enhancement of dramas by operatic treatment and the subjects that make the best dramas. The expected Wagnerian voltage is here: in his thinking about myths such as Oedipus, his theories about operatic goals and musical possibilities, his contempt for musical politics, his exaltation of feeling and fantasy, his reflections about genius, and his recasting of Schopenhauer. ø This edition includes the full text of volume 2 of William Ashton Ellis's 1893 translation commissioned by the London Wagner Society.
Author | : Albert Goldman |
Publisher | : Da Capo Press |
Total Pages | : 447 |
Release | : 1988-03-22 |
Genre | : Music |
ISBN | : 9780306803192 |
Author | : Frederic Spotts |
Publisher | : Yale University Press |
Total Pages | : 348 |
Release | : 1994-01-01 |
Genre | : Music |
ISBN | : 9780300066654 |
Providing an overall account of the history of the Wagner festival, a critical analysis of its performers, productions, and enthusiasts establishes its remarkable beginnings, controversial associations, and surprising successes
Author | : Alex Ross |
Publisher | : Farrar, Straus and Giroux |
Total Pages | : 784 |
Release | : 2020-09-15 |
Genre | : Music |
ISBN | : 1429944544 |
Alex Ross, renowned New Yorker music critic and author of the international bestseller and Pulitzer Prize finalist The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics—an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence. For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil. In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner’s many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W.E.B. Du Bois, from O Pioneers! to Apocalypse Now. In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.
Author | : Steve Dixon |
Publisher | : MIT Press |
Total Pages | : 1027 |
Release | : 2007-02-23 |
Genre | : Performing Arts |
ISBN | : 0262303329 |
The historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts. The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the twentieth century. For a theoretical perspective on digital performance, Dixon draws on the work of Philip Auslander, Walter Benjamin, Roland Barthes, Jean Baudrillard, and others. To document and analyze contemporary digital performance practice, Dixon considers changes in the representation of the body, space, and time. He considers virtual bodies, avatars, and digital doubles, as well as performances by artists including Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast Theory, and Eduardo Kac. He investigates new media's novel approaches to creating theatrical spectacle, including virtual reality and robot performance work, telematic performances in which remote locations are linked in real time, Webcams, and online drama communities, and considers the "extratemporal" illusion created by some technological theater works. Finally, he defines categories of interactivity, from navigational to participatory and collaborative. Dixon challenges dominant theoretical approaches to digital performance—including what he calls postmodernism's denial of the new—and offers a series of boldly original arguments in their place.
Author | : Marga Paz |
Publisher | : Actar |
Total Pages | : 384 |
Release | : 2000 |
Genre | : Art |
ISBN | : |
The early decades of the 20th century saw unprecedented cooperation between the performing and visual arts. Painters and other visual artists working in a variety of avant-garde styles, such as Cubism, Surrealism, Dadaism, Constructivism, and Futurism, worked in the world of theater and dance throughout Europe, creating masterpieces inspired by the explosion of creativity in the performing arts, from the ballets of Diaghilev and Balanchine to the plays of the Russian Meierkhol'd and Futurists such as Marinetti, and operas by the likes of Wagner and Offenbach. It was this burst of integration that led to the formulation of the idea of the "Total Art Creation," (a term coined by Wagner), and enriched both the theater and the visual arts. This handsome volume, published on the occasion of a major exhibition at the Reina Sophia Museum in Madrid, examines these avant-garde experiments in fusion between the arts with extensive color illustrations by virtually every major painter of the period: artists like Picasso, Kandinsky, Leger, and others, as well as in-depth essays on several of the performing art forms and the ways they involved visual artists in their production.