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Книги з теми "Parisian theaters"

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Автор: Grafiati

Опубліковано: 22 червня 2024

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1

Chauveau, Philippe. Les théâtres parisiens disparus: 1402-1986. Paris: Amandier, 1999.

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2

Yon, Jean-Claude. Théâtres parisiens: Un patrimoine du XIXe siècle. Paris: Citadelles & Mazenod, 2013.

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3

Anne, Catherine. Neuf saisons et demie: Les 3468 jours du Théâtre de l'Est parisien. Carnieres, morlanwelz: Lansman éditeur-diffuseur, 2011.

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4

Alfred, Simon. Le TEP, un théâtre dans la cité. Paris: BEBA, 1987.

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5

Guibert, Noëlle. Chez Sarah Bernhardt, dans les théâtres parisiens. Arles: Lunes, 2002.

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6

Wild, Nicole. Dictionnaire des théâtres parisiens au XIXe siècle: Les théâtres et la musique. Paris: Aux Amateurs de livres, 1989.

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7

Bellow, Juliet. Modernism on stage: The Ballets Russes and the Parisian avant-garde, 1917-1929. Burlington: Ashgate, 2012.

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8

Grand Opera House (London, Ont.), ed. 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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9

1947-, Ackermann Peter, Schwarz Ralf-Olivier 1976-, and Stern Jens, eds. 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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10

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.

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11

Goodman, Jessica. Mapping Theatrical Paris. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198796626.003.0003.

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Анотація:

This chapter begins a recontextualization of Goldoni’s Comédie-Italienne career with a panoramic view, analysing the position of the Italian theatre in the contemporary Parisian theatrical field. Original archive work provides the most comprehensive existing account of the theatre’s audiences and finances across the 1760s, and this account is compared to existing work on the Comédie-Française and the Opéra to create a clearer picture of the symbolic and commercial hierarchies within which the various Parisian theatres operated. In particular, the chapter explores the tension between symbolic and commercial status in the theatres of the period, and reveals that in contrast to the long-standing assumption that the Comédie-Italienne was less successful than the Comédie-Française, the Italian theatre was on a par with its rival.

12

Walker, Jennifer. Sacred Sounds, Secular Spaces. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197578056.001.0001.

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This book is the first comprehensive study that reevaluates music’s role in the relationship between the French state and the Catholic Church at the end of the nineteenth century. As the divide between Church and State widened on the political stage, more and more composers began writing religious—even liturgical—music for performance in decidedly secular venues, including popular cabaret theaters, prestigious opera houses, and international exhibitions: a trend that coincided with Pope Leo XIII’s Ralliement politics that encouraged conservative Catholics to “rally” with the Republican government. But the idea of a musical Ralliement has largely gone unquestioned by historians and musicologists alike who have long accepted a somewhat simplistic epistemological position that emphasizes a sharp division between the Church and the “secular” Republic during this period. Drawing on extensive archival research, critical reception studies, and musical analysis, this book reveals how composers and critics from often opposing ideological factions undermined the secular/sacred binary. From the opera house and niche puppet theaters to Parisian parish churches and Montmartre’s famed cabarets, composers and critics from opposing ideological factions used music in their effort to craft a brand of Frenchness that was built on the dual foundations of secular Republicanism and the heritage of the French Catholic Church.

13

Wild, Nicole. Dictionnaire des Theatres Parisiens au Xixe Siecle. French & European Pubns, 1989.

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14

Goodman, Jessica. Being an Author in Eighteenth-Century Theatre. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198796626.003.0004.

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Анотація:

This chapter narrows the contextual focus to concentrate on the role of dramatic authorship within the broader cultural field. First, it examines how authors traditionally shaped their careers in Parisian theatre, and outlines the different types of financial and symbolic reward that were offered by the Comédie-Italienne and the Comédie-Française in the 1760s. Then, it reconstructs the career trajectories of some of Goldoni’s contemporaries, including Marmontel, Sedaine, and Riccoboni, examining how their involvement in theatrical and non-theatrical enterprises contributed to their social and financial position by earning them money and/or cultural capital in high or low circles. This analysis suggests that the Comédie-Italienne provided a more commercial alternative to its French counterpart, but also reveals the extent to which literary consecration of dramatic authors was enacted outside of the theatres altogether.

15

Blewer, Evelyn. Secours Mutuel: Victor Hugo Et La Crise Des Theatres Parisiens, 1848-1849. Euredit, 2002.

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16

Bellow, Juliet. Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde. Taylor & Francis Group, 2017.

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17

Bellow, Juliet. Modernism on Stage: The Ballets Russes and the Parisian Avant-Garde. Taylor & Francis Group, 2016.

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18

Goodman, Jessica. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198796626.003.0001.

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Анотація:

The Introduction sets out the two key contexts with which the book engages: studies of Goldoni’s time in Paris and studies of eighteenth-century theatre. It exposes the contradiction that is found in both Goldoni’s account of his Parisian career (his Mémoires and letters) and critical responses to that career, introduces the concept of gloire, and outlines the main questions surrounding authorial self-fashioning in the period. All this provides a context within which to evaluate Goldoni’s own trajectory from the perspective of his misunderstandings. The Introduction also includes an outline of the book and a summary of the chapters that follow.

19

Sherr, Richard, ed. Ohé! les p'tits agneaux! A-R Editions, 2021. http://dx.doi.org/10.31022/n082-83.

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Анотація:

This edition presents, for the first time ever, the complete text and music of a nineteenth-century Parisian revue de fin d’année, providing a glimpse into an aspect of the theatrical and musical life of Paris that has generally been overlooked by scholars. Ohé! les p’tits agneaux!, the revue put on by the Théâtre des Variétés for the year 1857, was a gigantic theatrical spectacle in three acts and ten tableaux, with ninety-one separate roles played by twenty-three men and eighteen women, including extras, chorus, and dancers. Its music was assembled from popular tunes and musical theater pieces of the time, and its libretto (by playwrights Théodore Cogniard and Clairville) provides bitingly humorous commentary on contemporary events and theatrical productions.

20

Holt, Robin. Space. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199671458.003.0003.

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Анотація:

The French writer Georges Perec set out to ascertain everything that happened in a Parisian square. For three days Perec noted all the events he could, especially the incidental, and accidental. He exhausted himself. The chapter discusses the story as exemplifying the inevitable limits to knowledge, and hence to strategy if all strategy concerns itself with is the production and use of knowledge. Measuring, analysing, and depicting a space (environment, market, territory, industry, theatre) does not have to be of the typically measured form, and even when such forms are used, such as structured representational techniques like grids, meaning is carried way beyond the statement of ‘facts’. By understanding the factual reading of space critically, the chapter suggests strategy exponents might envisage using multiple forms of organizing.

21

Goodman, Jessica. Goldoni in Paris. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198796626.001.0001.

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Анотація:

The thirty years Carlo Goldoni spent in Paris hold an ambiguous place in his career. The preface to his autobiography explicitly draws attention to France as the site of his authorial glory, but elsewhere he dismisses his work for the Parisian Comédie-Italienne as a failure, and this view has come to dominate modern readings of his French experience. This study sets out to explore this apparent contradiction. By reading Goldoni’s own contemporary and subsequent accounts through the lens of his context as a dramatic author in 1760s Paris, this book sheds new light on both his experience and critical reactions to that experience. A key part of this contextualization is an examination of contemporary Comédie-Italienne archives, resulting in the most comprehensive existing account of this oft-neglected theatre and its authorial relations in the period. When material and artistic conditions at the Comédie-Italienne thwarted the self-fashioning strategies Goldoni had developed in Italy, he turned his attention to other areas of French life; notably the court and the Comédie-Française. Yet despite relative success in this regard, his career as an eclectic homme de lettres was lost in translation to posterity. In his French Mémoires, he constructed the claim of Parisian glory according to an outdated understanding of what it meant to succeed in the French literary field, focusing predominantly on the power of Comédie-Française success. Ultimately, this construction was a failure: in modern France, Goldoni is remembered as a famous foreigner, not the consecrated French littérateur he believed he had become.

22

Foss, Colin. The Culture of War. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621921.001.0001.

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The Culture of War explores the unexpected flourishing of literature both high and low during the Siege of Paris at the end of the Franco-Prussian War, 1870-1871. When Prussian forces completely blockaded Paris, isolating the city from the outside world, Parisians turned to literature to resist the enemy, to fill the idle hours under siege, and to articulate their place in history. This cultural boom was a conscious effort on the part of literary institutions like newspapers, publishers, and theaters to ensure the viability of their industries during a period of political uncertainty. To do so, many publishers, editors, and directors sought legitimacy through populism, promoting literature written by anonymous and unknown authors or that spoke to populist ideas. A study of national tragedy on a local scale, The Culture of War goes beyond traditional narratives of communal or individual psychology, and studies institutional responses to financial and political instability, viewing literature as a product of economic and political forces.

23

Panni d'oro e fiordalisi estensi: Bozzetti e figurini di Mario Pompei per "Parisina" di Gabriele D'Annunzio (1926) : Rocca Possente di Stellata, 20 maggio-10 giugno 1990. Ferrara: Liberty house, 1990.

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24

Grand Opera House, London, Ont., programme: Season 1897-98 : Thursday, May 12, Wm. A. Brady and F. Ziegfeld present three attractions : the chic Parisian chanteuse Mlle. Anna Held ... the three-act roaring farce "A gay deceiver" and The cat and the cherub, the celestial drama in one act, by Chester Bailey Fernald .. [London, Ont.?: s.n., 1986.

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25

Walusinski, Olivier. Georges Gilles de la Tourette. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190636036.001.0001.

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Анотація:

An exhaustive biography of French neuropsychiatrist Georges Gilles de la Tourette (1857–1904) has never been undertaken. Gilles de la Tourette worked closely with the nineteenth-century founder of neurology in Paris, Jean-Martin Charcot. His name is universally known because of the eponymous, disabling syndrome that affects 0.9% of children/adolescents. Unpublished family archives, as well as Gilles de la Tourette’s correspondence with the Parisian journalist Georges Montorgueil, conserved at the national Archives in Paris, were examined together with press and police archives to portray Georges Gilles de la Tourette’s family and professional life in an original light. These archives have never before been studied or made available to the public. How the eponymous syndrome was isolated, the errors initially made in its description, the hidden role of Jean-Martin Charcot, and the disputes with other authors are covered in detail based on multiple sources, original or already published. An in-depth analysis of the genesis of Gilles de la Tourette’s prolific neurological and psychiatric works within their historical context rounds out this biography. Major figures of neurology of the time are also featured—including Freud, Charcot and his son, Brissaud, and Babiński. Interwoven with Gilles de la Tourette’s life and times are discussions of politics, theater, literature, the 1900 Paris World’s Fair, and numerous letters exchanged with Jules Claretie of the Académie Française to highlight his significant involvement in each of these domains. The book concludes with a complete bibliography of all works written by Gilles de la Tourette, compiled for the first time.