Letteratura scientifica selezionata sul tema "Parisian theaters"
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Articoli di riviste sul tema "Parisian theaters":
1
White, Kimberly. "Female Singers and the maladie morale in Parisian Lyric Theaters, 1830-1850". Women and Music: A Journal of Gender and Culture 16, n. 1 (2012): 57–85. http://dx.doi.org/10.1353/wam.2012.0027.
2
Romey, John. "Songs That Run in the Streets". Journal of Musicology 37, n. 4 (2020): 415–58. http://dx.doi.org/10.1525/jm.2020.37.4.415.
Abstract (sommario):
In the second decade of the eighteenth century, the Parisian théâtres de la foire (fairground theaters) gave birth to French comic opera with the inception of the genre known as comédie en vaudevilles (sung vaudevilles interspersed between spoken dialogue). Vaudevilles were popular songs that “ran in the streets” and served as vessels for new texts that transmitted the latest news, scandals, and gossip around the city. Already in the seventeenth century, however, the Comédie-Italienne, the royally funded troupe charged with performing commedia dell’arte, began to create spectacles that incorporated street songs from the urban soundscape. In the late seventeenth century all three official theaters—the Comédie-Italienne, the Comédie-Française, and the Opéra—also infused the streets with new tunes that transformed into vaudevilles. This article explores the contribution of the nonoperatic theaters—the Comédie-Française and the Comédie-Italienne—to the vaudeville repertoire to show the ways in which theatrical spectacle shaped a thriving popular song tradition. I argue that because most theatrical finales were structured around many repetitions of a catchy strophic tune to which each actor or actress sang one or more verses, a newly composed tune used as a finale had an increased probability of transforming into a vaudeville. Some of the vaudevilles used in early eighteenth-century comic operas therefore originated in newly composed divertissements for the late seventeenth-century plays presented at the nonoperatic theaters. Other vaudevilles began as airs from operas that were also absorbed into the tradition of street song. By the early eighteenth century, fairground spectacles drew from a dynamic repertory of vaudevilles amalgamated from the most voguish tunes circulating in the city. The intertwined relationship of the popular song tradition and theatrical spectacle suggests that the theaters helped to mold the corpus of vaudevilles available to street singers, composers, and playwrights.
3
Pesic, Andrei. "The Flighty Coquette Sings on Easter Sunday". French Historical Studies 42, n. 4 (1 ottobre 2019): 563–93. http://dx.doi.org/10.1215/00161071-7689170.
Abstract (sommario):
Abstract French colonists in Saint-Domingue brought a variety of entertainments from the metropole to the island's theaters during the later eighteenth century. This included the Parisian Concert Spirituel, which replaced theatrical entertainments with performances of religious and instrumental music during religious holidays. Yet these concerts never caught on in earnest and began to diverge significantly from the metropolitan institution: the Easter concert in Port-au-Prince entirely composed of opera arias would have been unthinkable in the metropole. Linking developments in the colony's entertainments with the understudied subject of religious practices among France's Caribbean colonists, this article argues that strong market pressures overrode weaker religious constraints in Saint-Domingue, making opera arias acceptable for Eastertide. It presents a new fine-grained approach for studying how cultural practices are transformed when traveling within an empire, with implications beyond the history of the arts. Les colons français ont importé une grande variété de divertissements de la métropole à Saint-Domingue durant la deuxième moitié du dix-huitième siècle. Le Concert spirituel de Paris, qui remplaçait les spectacles profanes pendant les fêtes religieuses, a été l'une de ces institutions. Néanmoins ces concerts n'ont jamais entièrement pris dans le contexte colonial et ont peu à peu divergé de leurs homologues métropolitains : un concert de Pâques à Port-au-Prince entièrement constitué d'airs d'opéra aurait été inimaginable dans l'Hexagone à cette époque. Liant l'histoire des divertissements coloniaux et le sujet peu étudié des pratiques religieuses des colons, cet article développe l'idée que de fortes pressions commerciales ont primé sur de faibles contraintes religieuses à Saint-Domingue, rendant des airs d'opéra acceptables au moment des fêtes de Pâques. L'analyse souligne la façon dont les pratiques culturelles évoluent lorsqu'elles voyagent au sein d'un empire colonial, tirant des implications qui vont au-delà de l'histoire des arts.
4
Noordegraaf, Julia, Loes Opgenhaffen e Norbert Bakker. "Cinema Parisien 3D". Alphaville: Journal of Film and Screen Media, n. 11 (17 agosto 2016): 45–61. http://dx.doi.org/10.33178/alpha.11.03.
Abstract (sommario):
In this article we evaluate the relevance of 3D visualisation as a research tool for the history of cinemagoing. How does the process of building a 3D model of cinema theatres relate to what we already know about this history? In which ways does the modelling process allow for the synthesis of different types of archived cinema heritage assets? To what extent does this presentation of “content in context” helps us to better understand the history of film consumption? We will address these questions via a discussion of a specific case study, our visualisation of Jean Desmet’s Amsterdam Cinema Parisien theatre, one of the first permanent cinemas of the Dutch capital. First, we reflect on 3D as a research tool, outlining its technology and methodological principles and its usefulness for research into the historiography of moviegoing. Then we describe our 3D visualisation of Cinema Parisien, discussing the process of researching and building the model. Finally, we evaluate the result against the existing knowledge about the history of cinemagoing in Amsterdam and of this cinema theatre in particular, and answer the question to what extent 3D as a research tool can aid our understanding of the history of cinema consumption.
5
Schumacher, Claude. "Would You Splash Out on a Ticket to Molièe's Palais Royal?" Theatre Research International 25, n. 3 (2000): 248–54. http://dx.doi.org/10.1017/s0307883300019702.
Abstract (sommario):
Little by little we are building up a reliable picture of what a seventeenth-century Parisian theatre looked like. In Theatre Research International we published an important article by Graham Barlow's on the Hôtel de Bourgogne in our first volume, and we return to the subject with the eye-opening reconstruction of the Palais Royal by Christa Williford in this, our last issue. In the intervening twenty-five years we have published articles on the problem of law and order in the auditorium, on actors and acting in seventeenth and eighteenth-century France; on the interaction between tragedy and the emerging opera, on theory, on dramatic literature, on the morality of actors and actresses, even on publicity; but nothing, specifically, on the identity of the spectator. And without a clearer impression of who patronized the Parisian theatres, we are in danger of missing important clues, not only concerning the theatrical performance, but also in our reading of the dramatic text—which will inform our theatrical decisions.
6
Williford, Christa. "A Computer Reconstruction of Richelieu's Palais Cardinal Theatre, 1641". Theatre Research International 25, n. 3 (2000): 233–47. http://dx.doi.org/10.1017/s0307883300019696.
Abstract (sommario):
A small, anonymous grisaille(Figure 1)from the collection of the Musée des Arts Décoratifs in Paris is among the more familiar images of seventeenth-century French theatre history. It depicts Cardinal Richelieu, Louis XIII, and other members of the royal family at the theatre. The setting for the scene is the Grande Salle of Richelieu's Parisian home, the Palais Cardinal. Designed by the palace architect Jacques Lemercier and completed in 1641, this theatre was among the first purpose-built proscenium theatres in France. In the 1660s it became the site of the public performances of Molière's most successful plays; after the playwright's death, it housed the Paris Opéra until a fire destroyed it in 1763.
7
Kang, Yingzheng. "Jean Rémusat's Musical and Educational Activity in the Context of Forming European Orchestral Traditions in Shanghai". Часопис Національної музичної академії України ім.П.І.Чайковського, n. 1(54) (21 marzo 2022): 91–104. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255430.
Abstract (sommario):
The author considered the main stages of creative formation and musical-educational as well as concert-performance activities of Jean Rémusat (J. Rémusat) in Europe and China. J. Rémusat's achievements as a flutist are examined in the context of his orchestral practice in Parisian and London theaters. Concert programs of J. Rémusat's performances as a soloist and member of ensemble groups on the basis of music-critical publications of Shanghai periodicals of 1860-1870 were analyzed. The main directions of his creative collaboration with other European musicians (G.B Fentum, J. C. H. Iburg) is highlighted in the cultural leisure of Shanghai in the western sector of the city. The author identified the role of the French musician in the founding of the Shanghai Philharmonic Society and the Wind Music Association to intensify the concert and performance activities of local amateur groups and professional musicians and hold their regular performances in front of citizens. It is emphasized that the organization of J. Rémusat's concerts is based on European experience, offering various forms of performances by artists with a repertoire available to the local public. The work of J. Rémusat, conductor and musician-educator, is described in view of his founding of private orchestral groups and his close cooperation with military musicians on the way to creating an amateur group "Shanghai Volunteer Brass Band". The process of professionalization of the amateur orchestra and the development of instrumental composition with the involvement of qualified musicians on the way to its transformation into a symphonic ensemble is highlighted. The orchestra repertoire based on works by classical and romantic composers is described. The representative functions of the orchestra in the celebration and participation in various citywide cultural events in Shanghai is clarified. The principle of formation of the instrumental composition of the municipal orchestra by professional musicians is revealed. It has been found that in the selection of orchestras, J. Rémusat preferred Filipino instrumentalists, who after a three-hundred-year period of Spanish colonial dependence were more familiar with Western orchestral culture than local Chinese musicians. The decisive role of Jean Rémusat as an active propagandist of European orchestral traditions in the creation of the official municipal "Shanghai Public Brass Band" (Shanghai Public Band) has been proved.
8
Ustinov, A. B. "Mstislav Dobuzhinsky and His Cabaret Companions: 1926 Parisian Season of the “La Chauve Souris”". Studies in Theory of Literary Plot and Narratology 15, n. 2 (2020): 490–595. http://dx.doi.org/10.25205/2410-7883-2020-2-490-595.
Abstract (sommario):
The essay is dedicated to collaboration of Mstislav Valerianovich Dobuzhinsky (1875‒1957) with the Parisian theater “Chauve-Souris,” or “The Bat,” under the direction of the actor, entertainer, stage director and inspirer of the Russian cabaret Nikita Balieff (real name: Mkrtich Balyan, in Armenian: Նիկիտա Բալիեւ; 1877 (?) ‒ 1936). He invited Dobuzhinsky, who was in Berlin at the time, to become the Artistic Director and the lead designer for a new show of his theatre in the season of 1926. Balieff had already established himself as a successful European entrepreneur, and his cabaret theater had three successful tours on Broadway over six years. Dobuzhinsky accepted his invitation, hoping to improve his financial situation, as after more than a year spent in Europe he could not achieve that stability either in Riga, Kaunas, or Berlin. At the end of May, he began preparing the program for the new Paris season in alliance with choreographer Boris Romanov and playwright Piotr Potemkin. Also Dobuzhinsky invited collaboration of his son Rostislav and his wife Lidia Kopnyaeva in designing the sets for Balieff’s interludes. The premiere of the new program took place on October 1, and it gained success and accolades in Paris and later in Berlin. The season of 1926 was perhaps the most significant in the history of “The Bat,” but at the same time decisive for Baliev, since it marked the exhaustion of the very idea of Russian cabaret theater abroad. Despite the fact that the American tour was then canceled, “The Bat” still ended up on Broadway in late autumn of 1927. This program was the last for Balieff’s theater, as to how it was greeted and loved in America. It was already a completely different “Chauve-Souris,” the “Continental”, as American critics called it, of little interest to both Parisian and Broadway audiences.
9
Smith, Frances. "Femininity, ageing and performativity in the work of Amy Heckerling". Alphaville: Journal of Film and Screen Media, n. 10 (16 dicembre 2015): 49–63. http://dx.doi.org/10.33178/alpha.10.03.
Abstract (sommario):
In this article we evaluate the relevance of 3D visualisation as a research tool for the history of cinemagoing. How does the process of building a 3D model of cinema theatres relate to what we already know about this history? In which ways does the modelling process allow for the synthesis of different types of archived cinema heritage assets? To what extent does this presentation of “content in context” helps us to better understand the history of film consumption? We will address these questions via a discussion of a specific case study, our visualisation of Jean Desmet’s Amsterdam Cinema Parisien theatre, one of the first permanent cinemas of the Dutch capital. First, we reflect on 3D as a research tool, outlining its technology and methodological principles and its usefulness for research into the historiography of moviegoing. Then we describe our 3D visualisation of Cinema Parisien, discussing the process of researching and building the model. Finally, we evaluate the result against the existing knowledge about the history of cinemagoing in Amsterdam and of this cinema theatre in particular, and answer the question to what extent 3D as a research tool can aid our understanding of the history of cinema consumption.
10
EVERIST, MARK. "Theatres of litigation: Stage music at the Théâtre de la Renaissance, 1838–1840". Cambridge Opera Journal 16, n. 2 (luglio 2004): 133–61. http://dx.doi.org/10.1017/s095458670400182x.
Abstract (sommario):
From 1807 to 1864, Parisian music drama was governed by a system of licences that controlled the repertory of its three main lyric theatres: the Opéra (variously Académie Royale, Nationale and Impériale de Musique), the Théâtre-Italien and the Opéra-Comique. Between 1838 and 1840, the Théâtre de la Renaissance gained a licence to put on stage music, and quickly succeeded in establishing a reputation for energetic management, imaginative programming together with artistically and financially successful performances. It could do this only by exploiting what were effectively newly invented types of music drama: vaudeville avec airs nouveaux and opéra de genre. The invented genres however brought the theatre into legal conflict with the Opéra-Comique and Opéra respectively, and opened up a domain of jurisprudence –associated with repertory rather than copyright – hitherto unsuspected.
Tesi sul tema "Parisian theaters":
1
Paffett, Erik Matthew. "Theatrical Politics in Ancien Regime France: Music, Genre, and Meaning at the Parisian Fair Theaters, 1678–1723". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595845736008434.
2
Romey, John Andrew III. "Popular Song, Opera Parody, and the Construction of Parisian Spectacle, 1648–1713". Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1521213146521338.
3
Boothroyd, Edward. "The Parisian stage during the Occupation, 1940-1944 : a theatre of resistance?" Thesis, University of Birmingham, 2009. http://etheses.bham.ac.uk//id/eprint/345/.
Abstract (sommario):
This study aims to establish whether the performance or reception of a ‘theatre of resistance’ was possible amid the abundant and popular literary theatre seen during the Occupation of France (1940-1944). Playwrights and critics have made bold claims for five plays that allegedly conveyed hostility towards the occupier or somehow encouraged the French Resistance movement. These premieres will be scrutinised by examining the plays’ scripts, the circumstances surrounding their composition, the acquisition of a performance visa, public reactions and critics’ interpretations from before and after the Liberation of August 1944. I intend to demonstrate that the extreme circumstances of war-torn Paris were largely responsible for the classification of these complex works and their authors as either pro-Resistance or pro-Collaboration, a binary opposition I will challenge. While it is understandable that certain lines or themes took on special relevance, writers would not risk attracting the attention of the German or Vichy authorities. Mythical or historical subject material was (deliberately) far removed from the situation of 1940s audiences, yet was presented in the form of ‘new’ tragedies that resonated with their preoccupations. Individual testimony confirms that certain plays provided a morale boost by reaffirming hope in the future of France.
4
Hibberd, Sarah. "Magnetism, muteness, magic : Spectacle and the Parisian lyric stage c1830". Thesis, Boston Spa : British thesis service, 1998. http://catalogue.bnf.fr/ark:/12148/cb39143431q.
5
Rémond, François. "Le personnage de farce et son interprète : Pratiques des farceurs professionnels parisiens (1610-1686)". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030041.
Abstract (sommario):
Si le genre théâtral de la farce médiévale est un sujet exploré depuis longtemps par la recherche théâtrale, l’étude de sa postérité au XVIIème siècle en est encore à ses balbutiements. En particulier, il n’a pas encore été élaboré de système conceptuel global qui permette de rendre compte des spécificités de la « forme moderne » de ce genre marginal basé sur les traditions culturelles populaires, dont restent de nombreux témoignages polymédiatiques, attestations littéraires ou représentations visuelles. Ce travail se propose donc de fournir une codification structurelle du genre, appuyée sur une base documentaire cohérente, qui permette de rendre compte à la fois de ses spécificités de construction dramaturgique et des modalités concrètes de sa pratique. Dans ce but, il sera procédé à une analyse des éléments constitutifs de cette forme scénique à l’aide de l’outillage développé dans le champ de l’anthropologie des médias populaires afin d’aboutir à la mise en place d’une typologie articulée sur les rapports fonctionnels des personnages récurrents ou « Masques » créés par les farceurs, interprètes polyvalents spécialisés dans cette forme théâtrale. Ce découpage typologique en sept personnages-fonctions sera précisé par la constitution d’un inventaire détaillé des interprètes de « Masques » actifs sur la scène parisienne depuis l’organisation des groupements de farceurs au sein des troupes de théâtre de la capitale dans les années 1610, à la fin du genre sur les théâtres officiels durant les années 1680. Ce catalogage systématique des farceurs en lien avec leur fonctionnalité scénique permettra ensuite de reconstituer la chronologie de l’activité de ces praticiens au sein des différentes troupes de la capitale en resituant précisément leur production dans le contexte plus large de l’évolution de l’ensemble des pratiques théâtrales de l’époque, donnant ainsi l’occasion de mesurer précisément l’influence qu’exerce tout au long du siècle la farce sur les formes théâtrales régulièresWhereas the theatrical genre of medieval farce has been an area explored since a long time, the study of its successors in the 17th century is at its very beginning. In particular, a comprehensive conceptual system that could account for the specific features of the modern form of a marginal genre based on popular cultural traditions has yet to be developed, despite a great numbers of polymediatic records of this theatrical practice, in visual or written form. This work propose a structural codification of the genre, based on a coherent and consistent documentary base, in order to account for the specifics in the construction of its dramaturgy as well as of the practicalities of its practice. To this end, we will conduct a thorough analysis of the structural components of this theatrical form with the help of the methodological tools used in anthropological studies of popular media in order to establish a typology based on the functional relations of the stock characters (or “Masks”) created by the actors specialized in this particular theatrical genre. The typological division into seven character types will be exemplified through the creation of a detailed inventory of the performers in “Masks” on the Parisian stage, from the emergence of farces players in theatre troupes in the 1610s to the end of this theatre form in the official theatres in the 1680s. This systematic approach linking the farce players to a specific dramaturgic functionality will allow reconstructing a chronology of this practice in the different Parisian troupes. This will give the opportunity to replace the activity of the farce performers in the global evolution of the theatrical practices during the century, in order to the show the influence of the farce on the contemporary regular theatre forms
6
Pluquet, Céline. "Le cinéma muet, un art musico-visuel : pratiques, théories et esthétiques de la musique de cinéma à Paris entre 1907 et 1929". Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080053.
Abstract (sommario):
Cette thèse entend articuler les enjeux historiques, théoriques, culturels et esthétiques de la musique de cinéma pendant la période muette à travers le cas de l’exploitation parisienne. Elle interroge le rôle de la musique d’accompagnement dans la définition du cinéma propre à cette période.Cette étude rend compte de l’établissement de pratiques, théories et de formes filmiques et musicales que conditionne la musique de cinéma. Une première définition de la musique de cinéma entre 1906 et 1907 définit le spectacle cinématographique en tant que pantomime cinématographique dès lors qu’il apparaît comme représentation artistique, en l’instituant en tant qu’expérience musico-visuelle. La musique de cinéma est alors progressivement marquée par la reconnaissance de l’orchestre comme modèle de pratique d’accompagnement dans les salles parisienne dès le lendemain de la Grande Guerre. Enfin, l’ancrage de la musique de cinéma se confirme dès lors que les théoriciens instaurent une pensée autour de l’accompagnement musical d’un art cinématographique tout le long des années 1920.Cette enquête nous conduit ainsi à repenser le rôle de la séance comme moment fondateur de ce qui définit le cinéma. La musique de cinéma incarne, en somme, une clef de voûte qui rassemble une conception du cinéma à la fois en tant qu’art et spectacle cinématographiqueThis thesis intends to articulate the historical, theoretical, cultural and aesthetic aspects of film music during the silent era through the case of Parisian theaters. It questions the role of music and how it defined cinema at that specific time. This study shows the establishment of practices, theories, filmic and musical forms conditioned by film music. A first definition of film music between 1906 and 1907 describes the cinematic show as being a cinematic pantomime from the moment it appears as an artistic representation, as both a musical and visual experience. Shortly after the Great War, film music is gradually marked by the recognition of the orchestra as a model of musical accompaniment practice in Parisian theaters. Finally, film music becomes fully embedded when theorists establish the idea of the musical accompaniment of a cinematic art throughout the 1920s.This investigation thus leads us to rethink the role of the cinematic show in the definition of cinema. In short, film music represents the cornerstone which brings together a perception of cinema as being both an art and a performance
7
Manenti-Ronzeaud, Claudia. "Édition de HARNALI, N, I, ni OH ! QU'NENNI : Les parodies d'Hernani sur les scènes des théâtres secondaires en 1830". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10113.
Abstract (sommario):
L’étude du fonctionnement des reprises parodiques d’Hernani en 1830 et l’édition de Harnali, N, I, ni et Oh ! Qu’Nenni, établie à partir des manuscrits, des rapports de la censure et de différentes versions imprimées, permettent de constater que les parodies d’Hernani sont à la fois déterminées par la pièce qui sert de modèle référentiel initial et par des intertextes contemporains avec lesquels elles dialoguent. Les conventions des spectacles du temps, le goût du public, font que la parodie sert paradoxalement d’imitation subversive au service d’une norme. En effet, la déconstruction parodique devient une source de construction des pièces qui, à travers les incohérences et les invraisemblances relevées dans Hernani, se positionnent dans un fonctionnement de spectacle qui leur est propre. Au-delà d’une simple critique, satire ou imitation d’une pièce initiale à travers l’écriture, l’intertextualité et les genres, les reprises parodiques renvoient ainsi une image du contexte du temps et des spectacles joués sur les théâtres secondaires. Ces parodies sont donc également des spectacles, qui s’inscrivent dans la contemporanéité de jeux d’acteurs, d’airs et couplets des théâtres secondaires parisiens de 1830The study of procedures used in parodies of Hernani in 1830, together with an edition of manuscripts of Harnali, N, I, ni and Oh! Qu’Nenni, of censors’ reports, and of different printed versions, show that parodies of Hernani are at the same time informed by the play that serves as an initial model and by cultural intertexts with which they establish a dialogue. Performance conventions of the time, as well as public taste, create a paradoxical situation in which parodies act as subversive imitation in the service of a norm. Indeed, parodic deconstruction becomes a source of construction of plays which, pointing out the incoherencies and improbabilities in Hernani, create their place in a type of performance that is unique to them. Beyond simple criticism, satire, or imitation of an earlier play through style, intertextuality, and genre, parodies also reflect an image of the context of the times and of plays performed on secondary theatres. These parodies are thus plays in their own right, a part of contemporary style of acting and of the use of airs and refrains in Parisian secondary theatres in 1830
8
Wild, Nicole. "Musique et theatres parisiens face au pouvoir (mille huit cent sept a mille huit cent soixante quatre) avec inventaire et historique des salles". Paris 4, 1987. http://www.theses.fr/1987PA040009.
Abstract (sommario):
Au dix-neuvieme siecle, deux decrets imperiaux jouerent un role preponderant dans l'histoire des spectacles parisiens : celui de 1807 reduisant le nombre des theatres a huit, et celui de 1864 proclamant la liberte d'exploitation. Durant cette periode, les theatres furent soumis a une juridiction extremement complexe et severe qui alourdissait la gestion de ces etablissements. Bien plus, cette legislation exercait une autorite puissante sur les formations musicales et sur le repertoire qu'elle controlait par le biais de la censure, imposant a chaque theatre un genre particulier. Dans une premiere partie, sont analysees les structures mises en place par le pouvoir, et dans une seconde partie, les moyens utilises par les theatres et par des personnalites appartenant au monde artistique et litteraire pour resister au joug de l'autorite et denoncer les conditions alarmantes dans lesquelles se debattaient les jeunes compositeurs. Quel fut l'enjeu des theatres et a quels resultats etaient-ils parvenus lorsque 1864 devait enfin leur ouvrir de nouvelles perspectives : celles de la liberteDuring the nineteenth century two imperial decrees played a decisive role in the history of parisian theatres : that of 1807 reduced their number to eight, and that of 1864 proclaimed freedom of exploitation. For this period (18071864), the theatres were subject to an extremely complicated and severe legal control which weighed down heavily on the management of these enterprises. Even more to the point this legislation had a powerful effect on the personnel of the lyric organizations and on the repertory which it directed by the bias of the censure and by imposing on each theatre a specific genre. In the first part, the structures established by the government are analysed, and the second treats the means used by the theatres and by those people belonging to the artistic and literary milieu to resist the legal authority's strict control and to denounce the unfortunate conditions against which young composers had to struggle. What was the theatres' stake and what had they achieved by 1864 when the second decree opened up new perspectives for them : liberty
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Demeilliez, Marie. "« Un plaisir sage et réglé ». Musiques et danses sur la scène des collèges parisiens (1640-1762)". Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040163.
Abstract (sommario):
Aux XVIIe et XVIIIe siècles, des représentations théâtrales sont régulièrement donnés dans les différents collèges parisiens de plein exercice, les dix attachés à la faculté des arts de l’université de Paris, comme celui tenu par les jésuites (le collège de Clermont devenu Louis-le-Grand), avec un faste et un retentissement variables, où la musique et la danse peuvent prendre une large place. Cette thèse est consacrée aux pratiques musicales et de danses en usage dans ce théâtre collégien. À l'issue d'une recension des représentations (établissement d’un catalogue des représentations et d’un répertoire de sources) et d'une reconstitution de plusieurs fragments musicaux, ce travail envisage l’inscription des scènes collégiennes dans l’espace artistique de la capitale, tout en les replaçant dans les usages pédagogiques de chaque établissement. Les conditions de ces représentations, leur publicité et les nombreux écrits qu’elles génèrent, enfin les acteurs et les milieux professionnels impliqués dans ces spectacles, sont successivement étudiés. La deuxième partie de la thèse est consacrée à un genre remarquable par sa continuité et son prestige, le ballet, l’élément le plus marquant et le plus polémique des spectacles de collège depuis le milieu du XVIIe siècle. Les spécificités du ballet de collège et leurs évolutions au cours de plus d’un siècle de répertoire sont analysées. La scène collégienne parisienne apparaît dès lors comme une interface, où se mêlent des acteurs et des usages chorégraphiques et musicaux de diverses origines et de diverses esthétiquesDuring the 17th and 18th centuries, there were regular performances given by Parisian Colleges, the ten belonging to Paris University, and the one held by the Jesuits (College de Clermont, later College Louis-le-Grand), with variable pomp and success, in which music and dance took a significant role. This thesis studies musical practices and dances as part of these performances. A complete catalog of the performances and the preserved sources along with a reconstruction of musical fragments gives an image of the artistic life in these pedagogical institutions in particular and in the Parisian theatrical context of the period. The specific conditions for these performances, the numerous publications (programmes, commentaries, manuscripts, posters, etc.), the actors and their professional environment have been studied. The ballet, with its continuity and prestige, is the subject of the 2nd part of this work. Since the mid-17th century, it holds an important and polemic position within the theatrical performance. The particularities of the college ballet and its century-long evolution are analyzed. The Parisian College Scene appears as a place of multiple assimilations, with actors, chorographic and musical practices from various origins and styles
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Noblecourt, Pauline. "La lumière focalisée dans les spectacles parisiens du XIXe siècle". Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2124.
Abstract (sommario):
À travers l’analyse d’un vaste éventail de sources techniques (brevets, traités, manuels) et artistiques (pièces de théâtre, relevés et livrets de mise en scène, iconographie), cette étude propose une analyse de l’apparition de la lumière focalisée sur les scènes parisiennes, et des transformations du régime scopique propre au théâtre qu’induit ce nouvel éclairage. À partir des années 1840, en effet, les spectacles (dramatiques, lyriques, ou de danse) mettent régulièrement en scène des « rayons de lumière », produits par des dispositifs optiques (lentille, réverbères), qui permettent de créer une lumière directionnelle et focalisée. Cette étude interroge les bouleversements esthétiques et techniques qui ont mené à l’adoption, puis à la généralisation, de ces effets. Les transformations du paradigme de la vision au XIXe siècle, analysées notamment par Jonathan Crary, permettent en effet de comprendre que les contrastes de lumière, très en vogue à partir des années 1800 notamment dans les mélodrames et les drames romantiques, témoignent d’un changement de paradigme au théâtre : la construction d’un regard sur la scène, par l’emploi de la lumière, s’impose progressivement. C’est dans ce contexte que le motif du rayon émerge dans l’imaginaire romantique, d’abord comme métaphore de la vision et du drame, puis comme effet de lumière mis en scène. À partir des années 1850, l’apparition des premiers projecteurs électriques et oxhydriques permet de multiplier les effets de lumière focalisée, dont les usages se codifient peu à peu. D’une part, la lumière focalisée est utilisée comme dispositif disciplinaire et s’impose comme un moyen de contrôler spécifiquement l’attention portée à la scène, participant en cela au long mouvement de pacification des spectateurs au cours du siècle. Mais elle permet aussi d’aiguiser le regard : le projecteur devient ainsi le moyen d’instrumenter l’oeil du spectateur pour lui donner à voir ce qu’il n’aurait, sans cela, pas remarqué : les détails, les signes, les indices. Ainsi le « rayon » participe-t-il à la mise en place du « paradigme indiciaire » au théâtre, qu’a notamment décrit Jean-Pierre Sarrazac en s’appuyant sur les travaux de Carlo Ginzburg. D’autre part, la lumière focalisée est utilisée pour transformer les corps par la technologie, notamment ceux des créatures fantastiques et des femmes. Elle devient ainsi un instrument de production de l’altérité ; elle permet de produire des corps conformes aux catégories de genre. De ce point de vue, le rayon permet d’amorcer dès les années 1850 une réflexion sur les liens entre lumière et matière. Les praticiens expérimentent alors avec différents usages de la lumière : certains se font sur le mode de l’objectification, telle que définie notamment par Sandra Lee Bartky ;d’autres, particulièrement l’oeuvre de Loïe Fuller, inventent de nouvelles modalités de mise en scène de la focalisation. Le volume d’annexe de cette thèse contient des relevés d’indications de lumière dans des livrets de mise en scène du XIXe siècle, notamment la collection Palianti et les fonds de l’Association de la Régie ThéâtraleThrough the analysis of a wide range of technical sources (patents, treaties, manuals) and artistic sources (plays, “livrets de mise en scène”, iconography), this study proposes an analysis of the emergence of focused light on Parisian stages, and the transformations of the scopic regime specific to the theatre induced by this new lighting. From the 1840s onwards, shows (dramatic, lyrical, or dance) regularly feature "rays of light", produced by optical devices (lenses, streetlights), which make it possible to create directional and focused light. This study examines the aesthetic and technical shifts that led to the adoption and generalization of these effects. The transformations of the paradigm of vision in the 19th century, analysed in particular by Jonathan Crary, make it possible to understand that the contrasts of light, very popular from the 1800s onwards, particularly in melodramas and romantic dramas, testify to a paradigm shift in theatre: the construction of a view of the stage, through the use of light, is gradually becoming imperative. It is in this context that the pattern of the ray emerges in the romantic imagination, first as a metaphor for vision and drama, then as a staged light effect. From the 1850s, the advent of the first electric and limelight projectors made it possible to multiply the effects of focused light, whose uses were gradually codified. On the one hand, focused light is used as a disciplinary device and imposes itself as a means of controlling specifically the attention paid to the stage, thus contributing to the long movement of pacification of the spectators during the century. But it also allows a sharpened gaze: the projector thus becomes the means of instrumenting the spectator's eye to give him to see what he would not otherwise have noticed: the details, the signs, the clues. Thus the "ray" participates in the implementation of the "conjectural paradigm" in the theatre, which Jean-Pierre Sarrazac described in particular on the basis of Carlo Ginzburg's work. On the other hand, focused light is used to transform bodies through technology, especially those of fantastic creatures and women. It thus becomes an instrument for the production of otherness; it allows the production of bodies conforming to gender categories. From this point of view, the ray makes it possible to start thinking about thelinks between light and matter as early as in the 1850s. Practitioners then experiment with different uses of light: some are based on objectification, as defined by Sandra Lee Bartky in particular; others, particularly the work of Loïe Fuller, invent new ways of staging focused light. The appendix volume of this thesis contains lists of light indications in 19th century staging booklets, including the Palianti collection and the collections of the Association de la Régie théâtrale
Libri sul tema "Parisian theaters":
1
Chauveau, Philippe. Les théâtres parisiens disparus: 1402-1986. Paris: Amandier, 1999.
2
Yon, Jean-Claude. Théâtres parisiens: Un patrimoine du XIXe siècle. Paris: Citadelles & Mazenod, 2013.
3
Anne, Catherine. Neuf saisons et demie: Les 3468 jours du Théâtre de l'Est parisien. Carnieres, morlanwelz: Lansman éditeur-diffuseur, 2011.
4
Alfred, Simon. Le TEP, un théâtre dans la cité. Paris: BEBA, 1987.
5
Guibert, Noëlle. Chez Sarah Bernhardt, dans les théâtres parisiens. Arles: Lunes, 2002.
6
Wild, Nicole. Dictionnaire des théâtres parisiens au XIXe siècle: Les théâtres et la musique. Paris: Aux Amateurs de livres, 1989.
7
Bellow, Juliet. Modernism on stage: The Ballets Russes and the Parisian avant-garde, 1917-1929. Burlington: Ashgate, 2012.
8
Grand Opera House (London, Ont.), a cura di. Grand Opera House, London, Ont.: Wednesday ev'g, Nov. 30th, 1892, programme : first appearance in London of Ramsay Morris's Comedy Company (from New York), presenting the great Parisian laughing success, Joseph .. [London, Ont.?: s.n., 1986.
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1947-, Ackermann Peter, Schwarz Ralf-Olivier 1976- e Stern Jens, a cura di. Jacques Offenbach und das Théâtre des Bouffes-Parisiens 1855: Bericht über das Symposion Bad Ems 2005. Fernwald: MBM, Musikverlag Burkhard Muth, 2006.
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l'intérieur, France Ministère de. Censure des répertoires des grands théâtres parisiens (1835-1906): Inventaire des manuscrits des pièces (F18 669 à 1016) et des procès-verbaux des censeurs (F21 966 à 995). Paris: Centre historique des Archives nationales, 2003.
Capitoli di libri sul tema "Parisian theaters":
1
Grieve-Smith, Angus. "The Digital Parisian Stage Project". In Building a Representative Theater Corpus, 25–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-32402-5_4.
2
Foss, Colin. "The Boulevards Lose their Theaters". In The Culture of War, 25–50. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621921.003.0002.
Abstract (sommario):
During the Siege of Paris, Parisian theaters had to escape their reputation as places of leisure for the elites of Europe and re-imagine their purpose within a city at war and in the throes of political tumult. When the Siege began, a municipal decree closed all theaters within the capital. Their re-opening was predicated on an orientation towards civic life, a repertoire that more closely reflected the revolutionary spirit of the Siege, and a willingness to open their doors to popular and populist gatherings that had previously been the purview of political clubs. This chapter relates the conflict between institutional independence and a changing public opinion, focusing on Édouard Thierry, the director of the Comédie-Française, in his attempt to sell the Parisian public on the idea that his institution was a place of populist discourse, not just a distraction in times of war. To do so, he had to argue that French theatrical patrimony was the best defense against the enemy. In other words, he argued that going to the theater was patriotic.
3
Foss, Colin. "Introduction". In The Culture of War, 1–22. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621921.003.0001.
Abstract (sommario):
While scholarly interest is often drawn to the more tumultuous Paris Commune of 1871, insistence on this moment of revolution and civil war obscures the specific stakes of the Siege of Paris, which was not as much a revolution as a moment of suspension in French history. Cut off from the rest of the world, Parisians were left to their own devices during the Siege. What resulted was a literary industry with few established authors present, limited resources, and enormous demand. Despite the circumstances, Parisians turned to literature to alleviate their isolation and bear witness to the unspeakable tragedy that surrounded them. The relative anonymity of Parisian literary production during the Siege has erroneously led to the conclusion that culture came to a standstill during this period. However, a closer look at literary institutions, which weathered the storm of national defeat remarkably well, shows that literature does not disappear in times of war: it simply changes form. The introduction defines the four major sites of cultural production and the networks that existed within and among them: theaters, newspapers, personal writing, and book publishing.
4
Ellis, Katharine. "Operatic Competition". In French Musical Life, 201–26. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197600160.003.0007.
Abstract (sommario):
The impact of the café-concert on the activity of residential opera companies was significant in French towns with significant working-class populations. Among stage-music genres, operetta was also a threat because it was staged by secondary theaters (and by café-concerts in breach of their licenses) and because large numbers of bourgeois patrons preferred it to either Grand Opera or opéra-comique. These forms of competition for licensed managers for opera and spoken theater characterize the 1850s onward, resulting in heated exchanges with all layers of local and national government and debates about how to preserve operatic decorum and status in the face of operetta’s popularity. A notable exception is 1870s Strasbourg, where French operetta acts as a vehicle of resistance. The role of touring companies (often from Paris) as a centralist threat to the resident company from the 1880s, especially, is contrasted with their enrichment of smaller towns; the increase in guest artists (often Parisian too) is discussed as a factor in the longer-term shrinking of permanent opera company personnel. A coda examines the often brutal impact of broadcast technology on opera management and audiences in the 1920s and 1930s.
5
Walusinski, Olivier. "Commentator for La Revue Hebdomadaire, 1892–1900". In Georges Gilles de la Tourette, a cura di Olivier Walusinski, 371–90. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190636036.003.0016.
Abstract (sommario):
La Revue Hebdomadaire, a general cultural publication that first appeared in 1892, asked Gilles de la Tourette for articles on medical themes. He provided thirteen articles between 1892 and 1900, first using the pen name Paracelse, then his own name. Two of the articles were biographical. Of the eleven remaining articles, two dealt with hygiene and alcoholism and another with the “human calculator” examined by Charcot, Jacques Inaudi. But, most often, Gilles de la Tourette enjoyed giving his interpretation, as an alienist fascinated with hypnotism and hysteria, of the dramatic works produced in the theaters of the Parisian boulevards. This chapter presents and analyzes Gilles de la Tourette’s various articles within the political, cultural, and medical context of the time as well as his involvement with a famous trial, the Cauvin affair.
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Hargrove, Nancy Duvall. "The Theatre". In T. S. Eliot’s Parisian Year, 101–25. University Press of Florida, 2009. http://dx.doi.org/10.5744/florida/9780813034010.003.0004.
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Walker, Jennifer. "The Trocadéro". In Sacred Sounds, Secular Spaces, 193–246. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197578056.003.0006.
Abstract (sommario):
This chapter takes for its focus the high point of the Parisian musical season in 1900: the ten state-sponsored concerts officiels of the 1900 Exposition Universelle de Paris. As had been the case in 1878 and 1889, the goal of these concerts was to promote specifically Republican ideals through music. Yet in 1900, these ideals had transformed into a secular construction of Frenchness that absorbed Catholicism as a foundational trait of national identity. Although the Church was not represented in any official capacity either on the musical planning commission or on the concert programs themselves, the repertoire performed throughout these concerts created a narrative that centered around a sense of reconciliation between Church State. The carefully crafted vision put forth by the State relied heavily on transformations of the Church for the formation of a cohesive Republican identity such that the Church was present in its displays, theaters, and concerts in a way not seen in any previous Exposition. In the heart of Paris, the Trocadéro hosted a significant amount of explicitly religious music that, when mediated through actors deployed through the state apparatus on an international stage, transformed the Church into an integrated facet of French Republicanism that could be proudly displayed to the Exposition’s international audiences. These concerts functioned not as nostalgic emblems of a Revolutionary past nor as attacks against the political and religious right, but, rather, as a site of transformation at which the Republic co-opted Catholicism as an indispensable aspect of its own French identity.
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Smith, Marian. "Drawing the Audience in: The Theatre and the Ballroom". In Verdi in Performance, 113–19. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198167358.003.0015.
Abstract (sommario):
Abstract Knud Arne Jürgensen has made some valuable points about Verdi’s ballets and has given some important guidelines for future research. I should like to respond not by criticizing him but by suggesting that there are other ways in which this repertory might be approached. As background, one might begin by attempting to explain why Parisians insisted on putting ballets in operas in the first place-in spite of the preferences of Verdi and Wagner, among other foreigners, who found the practice vastly annoying. It was because of this Parisian habit, after all, that Verdi wrote most of his opera-ballets (to use Jürgensen’s term for ballets within operas).
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"4. Theater, Opera, and Dance". In Impressionism: Art, Leisure, and Parisian Society. Yale University Press, 1988. http://dx.doi.org/10.37862/aaeportal.00067.008.
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Budden, Julian. "The Collapse of a Tradition (Italian Opera 1840-70)". In The Operas of Verdi, 1–32. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198162629.003.0001.
Abstract (sommario):
Abstract Up to 1850 the background to Verdi’s artistic growth and the influences that nourished it are fairly easy to trace. The two main landmarks stand out clearly enough: on the one hand the more or less static tradition of post-Rossinian romantic melodramma; on the other the cosmopolitan world of Parisian grand opera. Thereafter the pattern becomes more confused as the landscape itself changes. In France grand opera declined in importance, though the yearly supply was scrupulously maintained till 1870. Meanwhile at the Theatre Lyrique a more truly native opera came of age with works by Gounod, Bizet and, later, Massenet; and from the Bouffes Parisiens sprang a rejuvenated lyric comedy under Offenbach, which was to epitomize the heady gaiety of the Second Empire.