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Thematische Bibliographien / American Folk and Theatre

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Auswahl der wissenschaftlichen Literatur zum Thema „American Folk and Theatre“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 21. Februar 2023

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Zeitschriftenartikel zum Thema "American Folk and Theatre"

1

Blackstone, Sarah. „The Theatre Museum of Repertoire Americana“. Theatre Survey 41, Nr. 1 (Mai 2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.

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Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Pleasant, Iowa. Since that time, the Museum of Repertoire Americana has prospered, and it currently houses an impressive collection of uniquely American research materials. Dedicated to preserving the rural theatrical heritage of the Midwest, the Museum has materials related to opera houses, circle stock companies, Uncle Tom shows, showboats, and tent shows of all descriptions. I offer here a brief description of the collection, together with information about the National Society for the Preservation of Tent, Folk, and Repertoire Theatre and the annual Theatre History Seminar this organization holds at the Museum each April.

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Slavíčková, Petra. „Hurston's "real Negro theatre": participation observation of African American folk“. Brno Studies in English 41, Nr. 2 (2015): 91–107. http://dx.doi.org/10.5817/bse2015-2-6.

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3

Biers, Katherine. „Practices of Enchantment: The Theatre of Zora Neale Hurston“. TDR/The Drama Review 59, Nr. 4 (Dezember 2015): 67–82. http://dx.doi.org/10.1162/dram_a_00497.

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Contemporary critical work in the field of new materialism, whose practitioners take seriously the concept of nonhuman agency, has largely neglected the genres of theatre and performance. African American author and folklorist Zora Neale Hurston’s folk revues of the 1930s offer an opportunity to examine the intersections between contemporary new materialist theory and the stage, revealing that black Atlantic performance practices have long explored concepts of nonhuman agency in the service of a cultural and racial politics.

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Senelick, Laurence. „Offenbach, Wagner, Nietzsche: the Polemics of Opera“. New Theatre Quarterly 32, Nr. 1 (07.01.2016): 3–18. http://dx.doi.org/10.1017/s0266464x15000822.

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By the early 1870s, the term ‘filth’ had become Wagner’s shorthand for Offenbach. He attacked his fellow composer both publicly and privately and sought to establish a polarity between the two, confining Offenbach to the realm of frivolous and materialistic popular folk culture while casting his own work as exemplary of the new German spirit. Laurence Senelick’s close analysis of Wagner’s writings, including his notorious 1869 essay ‘Jewishness in Music’, shows this critique to be fuelled by jealousy, cultural imperialism, and his growing anti-Semitism. Nietzsche is included here as a counterpoint, challenging his former mentor and celebrating Offenbach as the exemplar of Jewish genius. Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University and Fellow of the American Academy of Arts and Sciences. His most recent books include Soviet Theater: A Documentary History (2014, with Sergei Ostrovsky) and the second, enlarged edition of A Historical Dictionary of Russian Theatre (2015). This article is taken from his forthcoming The Offenbach Century: His Influence on Modern Culture (Cambridge University Press).

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Rapetti, Valentina. „Singing back to the Bard: A conversation on Desdemona with Rokia Traoré“. Journal of Adaptation in Film & Performance 13, Nr. 3 (01.12.2020): 337–44. http://dx.doi.org/10.1386/jafp_00035_7.

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Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, sharing some intimate memories and elaborating freely on the role of performers and the importance of focused listening in live stage productions.

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Sussman, Sally, und Tony Day. „Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance“. Theatre Research International 22, Nr. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.

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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion in Melbourne, Gartner fears that ‘there are people in this community […] thinking that […] it is the demise of all they believe in their British heritage’. The focus of the article, though, is not the promotion of Asian culture but how to overcome Asian indifference to Australia and the problem of bringing Australian artists to the notice of Asian impresarios and audiences. Australian cultural cringe wins out over Australian Asia-literate political correctness. In another corner of the continent the director and playwright Peter Copeman has been attempting to replace ‘the Euro-American hand-me-downs and imitations’ of mainstream Australian theatre with a theatre project which explores ‘attitudes of the dominant Anglo-Celtic and the Vietnamese minority cultures towards each other, using the intercultural dialectic as the basis of dramatic conflict’.

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Scuderi, Antonio. „The Gospel According to Dario Fo“. New Theatre Quarterly 28, Nr. 4 (November 2012): 334–42. http://dx.doi.org/10.1017/s0266464x12000632.

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For over half a century the Italian Nobel playwright and performer Dario Fo (b. 1926) developed a theatre that challenged the authority of hegemonic culture, while promoting the validity and dignity of folk and popular cultures. In his satire of the Catholic Church, Fo presents the paternalistic God the Father as an instrument of suppression, while showing Jesus as being closer to the hearts of the folk. His references to apocryphal gospels – the gospels of early Christianity that were rejected by the Roman Church – play into this schema. In two of his plays, First Miracle of the Christ Child (from Tale of a Tiger and Other Stories) and Johan Padan Discovers America, Fo borrows elements from various apocryphal texts as a basis to underscore his father/son dichotomy, and to contest hegemonic dominance. At the same time, he presents a human Jesus who is more akin to the Jesus of certain apocrypha than to official gospels. Antonio Scuderi is Professor of Italian at Truman State University in Missouri, where he founded the Italian programme. His interdisciplinary articles on Italian performance traditions have been published in leading journals of theatre, folklore and literary studies, and in essays for books. He is the author of Dario Fo and Popular Performance (Legas, 1998) and co-editor of Dario Fo: Stage, Text, and Tradition (Southern Illinois UP, 2000). His latest book, Dario Fo: Framing, Festival, and the Folkloric Imagination (Lexington Books, 2011), examines the influence of concepts derived from folk culture, anthropology, and Gramscian Marxism on the development of Fo's theatrical praxis.

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Mouton Kinyon, Chanté. „Foregrounding (Lost) Rituals in the Irish and Harlem Renaissances: John Millington Synge, Zora Neale Hurston, and the Transatlantic Gesture“. Modern Drama 65, Nr. 4 (01.12.2022): 499–521. http://dx.doi.org/10.3138/md-65-4-1128.

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In the preface to The Book of American Negro Poetry (1922), James Weldon Johnson argues that “the colored poet in the United States needs to do something like what Synge did for the Irish.” This article considers the theatrical works of Zora Neale Hurston in light of Johnson’s injunction. In their theatres, John Millington Synge and Zora Neale Hurston work to create a breathing archive of Irish and Black American cultures, respectively, using the stage to portray Irish and Black American folk cultures and give spectators the opportunity to see, hear, and experience performative aspects of those traditions. In addition to drafting scripts that attempt to stage Irish and Black American rituals, their emphasis on interpreting the unique rhythms of vernacular spoken traditions and of directly staging collected folk stories offers evidence of this goal. This article focuses on the use of the keen in Riders to the Sea and the use of the cakewalk in Color Struck to highlight how Synge and Hurston locate rituals in their cultural contexts, thereby giving a representation of them that audiences might consider authentic, while also writing against the stereotypes associated with the cultures under discussion.

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MARCUS, KENNETH H. „Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players“. Journal of the Society for American Music 9, Nr. 1 (Februar 2015): 26–60. http://dx.doi.org/10.1017/s1752196314000534.

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AbstractIn an environment of racial tension and conflict in Southern California during the first half of the twentieth century, the Ramona Pageant and the plays by the Padua Hills Mexican Players offered Mexican American performers a vital role in perpetuating cultural memory through music and dance. The Ramona Pageant, which began in Hemet, California in 1923 and is still in operation, remains one of the longest-running pageants, or historical dramas, in U.S. history. Similarly, the Mexican Players were founded during the Great Depression in 1931 in Claremont, California and performed continuously for more than forty years. This article argues that Hispanic musicians achieved a degree of cultural agency in these plays through the performance of Mexican folk music, especially canciones (love songs) and corridos (narrative ballads), which were essential elements in the “soundscape” of the Southwest. Although Anglos created and directed the plays, they did not create or perform the music. In spite of the plays’ largely romanticized portrayals of California's Spanish and Mexican past, they provided some of the few prominent forums in Southern California for Mexican American musicians and dancers during the first half of the twentieth century.

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Luo, Jun, und Guijun Li. „A Culturalist Interpretation of the Dark Brothers’ Sound Bitterness in Hughes’s I, Too, Sing America“. Studies in Linguistics and Literature 2, Nr. 1 (28.02.2018): 27. http://dx.doi.org/10.22158/sll.v2n1p27.

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<em>Langston Hughes is an important poet over the Harlem Renaissance who has contributed to the enhancement of the thematic profundity of his poetry in the association of African-American culture rooted in its literature, music, theater, art, and politics with his poetic production. Inspired by the original newness of his great poems, many foreign and Chinese scholars and critics have not only discussed much about his indispensable role in promoting dark brothers’ folk culture on the basis of their valuable explorations among his works but also made a mention of dark brothers’ lower social position as well as their unfair treatment in American society that has been dominated by their counterparts’ culture through the careful combination of his poems with the unbearable experience they have been suffering from. What they haven’t focused on in their respective studies of dark brothers’ discriminated culture is a sound and detailed discussion about the dark brothers’ empirical bitterness in the whole textual spaces of one of their academic essays or monographs in correspondence to one of his poems. To reduce the academic limitations in this respect, this essay will take one of his poems, I, Too, Sing America, as an analytical example to give a culturalist interpretation of the dark brothers’ sound bitterness.</em>

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Dissertationen zum Thema "American Folk and Theatre"

1

Dacey, Katherine. „"Gershwin Gone Native!": The Influence of Primitivism and Folk Music on "Porgy and Bess"“. W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626290.

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Kanaridis, Mina, University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „Investigating a singing voice in diverse genres and styles : a discussion of context and process“. THESIS_CAESS_CAR_Kanaridis_M.xml, 2002. http://handle.uws.edu.au:8081/1959.7/241.

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The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and selected examples of scores are included to illustrate the findings. The discussion concludes with a synthesis of context and process within the framework of a global perspective celebrating diversity.
Master of Arts (Hons)

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Hill, Caroline. „Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555276218786986.

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Kanaridis, Mina. „Investigating a singing voice in diverse genres and styles : a discussion of context and process“. Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/241.

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The author investigates the voice in diverse genres and styles, documenting and interpreting vocal performance through a contextual analysis of specifically chosen repertoire. This repertoire is drawn from collaboration with two musical groups, the Renaissance Players and Coda and from the author's artistic direction and presentation of four diverse recitals: American Songs, Italian Baroque, American Folk and Theatre and Nostalgia. Each recital is treated as a separate case study, in which the process of selecting, rehearsing and performing the repertoire is closely examined. Recordings and selected examples of scores are included to illustrate the findings. The discussion concludes with a synthesis of context and process within the framework of a global perspective celebrating diversity.

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Schoone-Jongen, Terence G. „Tulip time, U. S. A. staging memory, identity and ethnicity in Dutch-American community festivals /“. Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1172255860.

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6

Poe, Preston. „American folk“. [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000590.

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Tolley, Rebecca. „Review of American Folk“. Digital Commons @ East Tennessee State University, 2001. https://dc.etsu.edu/etsu-works/5706.

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8

Carpenter, Lisa. „Folk into Art: John Fahey, Modernism and the American Folk Revival“. W&M ScholarWorks, 2017. https://scholarworks.wm.edu/etd/1516639659.

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John Fahey’s music holds a distinct place in the mid-century folk revival--distinct because he is difficult to fit in with traditional narratives of the revival. John Fahey created a unique musical style through incorporation of traditional American music with classical music forms. His musical “quotations” and renditions of American blues, folk, ragtime, Protestant hymns, and parlor songs did not merely revive traditional music, but gave it new form and newfound respect in order to further artistic exploration. Fahey was a musical modernist, infusing tradition with the new. Fahey’s work can be situated in the context of modernist/folk connections that began earlier in the century.

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Dobler, Robert. „New American Ways of Death: Anxiety, Mourning, and Commemoration in American Culture“. Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18430.

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The experiences of grief and mourning in response to loss are fundamentally transformative to the self-identity of the mourner, necessitating an array of ritualized behaviors at the communal and individual levels. These rituals of mourning both create a space in which this transformation may take place and provide the structure that can direct that transformation. My focus is on historical and emerging forms of vernacular commemoration, by which I refer to material forms that are created by, acted upon, or in other ways utilized by a person experiencing grief in the service of regaining a sense of stability in the aftermath of loss. The re-integration of the bereaved, through mourning, back into society in new relation with the departed is often assisted by these vernacular memorial forms. My analysis focuses on three specific forms of commemoration: spirit photographs, ghost bikes, and memorial tattoos. These are vernacular forms of expression in the sense that they have emerged from and cater to individual needs and desires that are not satisfied by the more official and uniform materials and processes of mourning, such as the funeral service and subsequent visits to a gravesite or contemplation of an ash-filled urn. The power of these memorial forms rests in the adaptive and restorative abilities of memory to retain the lost relationship and to pull it forward and reconstitute it in a changed state as enduring and continuing into the future. When faced with the sudden death of a loved one, the traditional rituals that surround modern death may seem too rigid and homogenized to satisfy the wide array of emotions demanding attention in the bereaved. This is where the vernacular rituals and new forms of commemoration discussed in this dissertation spring up and make themselves known. Highly individual, yet often publicly and politically motivated, these new American ways of interpreting death and performing mourning represent the changing needs of contemporary mourners. As death has become increasingly hidden away and discussion of it rendered taboo, the need for personal and direct interaction with the processes of grief and mourning have become more and more important.
2016-09-29

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Lopez, Edwin Gerardo Aybar. „American Folk Traditions in Piano Concert Music“. Diss., North Dakota State University, 2013. https://hdl.handle.net/10365/27102.

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This paper describes concert music for the piano that is heavily influenced by or entirely based on folk music traditions from the Americas. First, the term folk music and problems arising from its use are explained. The three main groups of people from which most of the folk music of the Americas originated are also briefly described. The main music covered will be by the composers Samuel Barber (United States), Juan Morel Campos (Puerto Rico), Heitor Villa-Lobos (Brazil), and Louis Moreau Gottschalk (United States). Each composer is represented by one or two pieces. Each piece is analyzed in terms of form and the folk tradition that influenced it. The histories and characteristics of blues, boogie-woogie, cowboy ballads, plena, and banjo music are all considered and related to the pieces discussed.

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Bücher zum Thema "American Folk and Theatre"

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Carlisle, Barbara. The crane wife: A folk tale from Japan : a theatre piece for adults and children. New Orleans: Anchorage Press, 1997.

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Moloney, Mick. Irish music on the American stage. Cork: Irish Traditional Music Society, University College, Cork, 1993.

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Saeed, Fouzia. Women in folk theatre. Islamabad, Pakistan: Lok Virsa, 1991.

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4

Patanaik, Dhirendranath. Folk theatre of Orissa. Bhubaneswar: Orissa Sangeet Natak Akademi,1998., 1998.

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Naikar, Basavaraj S. The folk-theatre of north-Karnataka. Dharwad: Prasaranga, Karnatak University, 1996.

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Brustein, Robert Sanford. Reimagining American theatre. Chicago: I.R. Dee, 1992.

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Reimagining American theatre. New York: Hill and Wang, 1991.

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Alvin, King Bruce, Hrsg. Contemporary American theatre. New York: St. Martin's Press, 1991.

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King, Bruce, Hrsg. Contemporary American Theatre. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9.

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Shank, Theodore. American alternative theatre. New York: St. Martin's Press, 1988.

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Buchteile zum Thema "American Folk and Theatre"

1

Preston, Dennis R. „Folk dialectology“. In American Dialect Research, 333. Amsterdam: John Benjamins Publishing Company, 1993. http://dx.doi.org/10.1075/z.68.17pre.

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2

Christenson, Allen. „Folk Saints“. In Encyclopedia of Latin American Religions, 1–6. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-08956-0_202-1.

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Christenson, Allen. „Folk Saints“. In Encyclopedia of Latin American Religions, 472–77. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-27078-4_202.

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Canning, Charlotte. „Contemporary Feminist Theatre“. In American Drama, 178–92. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-24086-9_12.

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Wolff, Tamsen. „A Genealogy of American Theatre“. In Mendel's Theatre, 169–99. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230621275_6.

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King, Bruce. „Introduction“. In Contemporary American Theatre, 1–11. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_1.

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Champagne, Lenora. „Once Upon a Time in Performance Art“. In Contemporary American Theatre, 177–93. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_10.

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Gordon, Mel. „Performance Artist/Art Performer: Laurie Anderson“. In Contemporary American Theatre, 195–204. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_11.

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Shank, Theodore. „Contemporary American Dance Theatre: Clarke, Goode and Mann“. In Contemporary American Theatre, 205–26. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_12.

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Solomon, Alisa. „From C-R to PR: Feminist Theatre in America“. In Contemporary American Theatre, 227–42. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_13.

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Konferenzberichte zum Thema "American Folk and Theatre"

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Li, Qiong, und Jiabin Wang. „Notice of Retraction: On Applying "The Service Theatre Theory" into Improvements in Service Quality of Sichuan Folk Custom Tourism“. In 2010 International Conference on Internet Technology and Applications (iTAP 2010). IEEE, 2010. http://dx.doi.org/10.1109/itapp.2010.5566320.

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2

Kieu Trung, Son. „The Phenomenon of Writing new Lyrics for Folk Songs to Broadcast on Mass Media in Vietnam“. In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.5-3.

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The phenomenon of creating new lyrics for folk songs provides an interesting combination between the two fields of linguistics and ethnomusicology (or performing arts) and is highly applicable for life in Vietnam. This research aims at the meaning of choosing folk melodies to express language and to express an ideological content. Based on the thesis of linguistic anthropology, considering language to be a reflection of the human being, this study considers the choice of the way language is transmitted as part of that reflection. To conduct this study, we will look at the Voice of Vietnam Radio. From the material found, the number, content, purpose, context analysis and frequency of creating new lyrics for folk songs were broadcast during the history of anti-American war to teh preent date. The results of the study indicate that language has a number of ways of expressing each of its strengths and cultural and social meanings. This research refers to an innovation in the use of familiar folk melodies to express and promote language content in Vietnam that has been applied effectively in the mass media.

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Bethere, Sanita, und Lasma Licite-Kurbe. „Challenges in human resource management in the culture industry in Latvia“. In Research for Rural Development 2020. Latvia University of Life Sciences and Technologies, 2020. http://dx.doi.org/10.22616/rrd.26.2020.027.

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The culture industry and its human resources have been little researched in Latvia, yet research on the culture industry is important, because the industry makes a significant contribution to economic growth by promoting employment and the development of competitive regions. The culture industry encompasses libraries, folk art, theatre, music, museums, the creative industry and other sub-industries, yet in recent years those working in all the culture subindustries faced various challenges, including: a low remuneration and insufficient monetary and non-monetary bonuses, resulting in lower job satisfaction and a high personnel turnover. Accordingly, the aim of the research is to develop recommendations for hiring and retaining human resources by examining challenges in managing human resources in the culture industry. The authors conducted a survey among the personnel of the Board of Culture of Jelgava municipality. The survey found that the main challenges faced by the administration of the Board of Culture were an uncompetitive remuneration, the aging of the personnel and generational change as well as inefficient and insufficient motivation for working. The research has developed two scenarios for recruiting: ‘promotion of creativity and non-monetary motivation’ that aim to publicly appreciate human resources, so that they would feel important and significant as well as facilitate creativity, innovation and collective solidarity, while for the purpose of retaining human resources in a long-term and decreasing their turnover, the second scenario ‘competitive remuneration and the differentiation by position category’ aims to gradually raise the remuneration and differentiate it for all categories of personnel.

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Koch, Renate. „Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit“. In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.

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