The lively arts of the London stage, 1675 - 1725:
Unlike collections of essays which focus on a single century or whose authors are drawn from a single discipline, this collection reflects the myriad performance options available to London audiences, offering readers a composite portrait of the music, drama, and dance productions that characterized...
Gespeichert in:
| Format: | Buch |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
Farnham [u.a.]
Ashgate
2014
|
| Schriftenreihe: | Performance in the long eighteenth century : studies in theatre, music, dance
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Unlike collections of essays which focus on a single century or whose authors are drawn from a single discipline, this collection reflects the myriad performance options available to London audiences, offering readers a composite portrait of the music, drama, and dance productions that characterized this rich period. Just as the performing arts were deeply interrelated, the essays presented here, by scholars from a range of fields, engage in dialogue with others in the volume. The opening section examines a famous series of 1701 performances based on the competition between composers to set William Congreve's masque The Judgment of Paris to music. The essays in the central section (the "mainpiece") showcase performers and productions on the London stage from a variety of perspectives, including English "tastes" in art and music, the use of dance, the depiction of madness and masculinity in both spoken and musical performances, and genres and modes in the context of contemporary criticism and theatrical practice. A brief afterpiece looks at comic pieces in relation to satire, parody and homage. By bringing together work by scholars of music, dance, and drama, this cross-disciplinary collection illuminates the interconnecting strands that shaped a vibrant theatrical world. (Klappentext) |
| Beschreibung: | XV, 306 S. Ill., Notenbeisp. |
| ISBN: | 9781409455332 |
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| 505 | 0 | |a Introduction. Part I First, Music: Settings of Congreve's Judgment of Paris: The singers of The Judgment of Paris, Olive Baldwin and Thelma Wilson; Harmonia Anglicana or why finger failed in "The price musick", Robert Rawson; The "prize musick" of 1701: a reinvestigation of the staging issue, Matt Robertson. Part II Mainpiece: The Lively Arts of the London Stage: Composing after the Italian manner: the English cantata 1700-1710, Jennifer Cable; Johann Pepusch, aesthetics, and the sister arts, Sean M. Parr; From Scaramouche to Harlequin: dances "in grotesque characters" on the London stage, Jennifer Thorp; Music, magic, and morality: stage reform and the pastoral mode, Timothy Neufeldt; Madness "free from vice": musical eroticism in the pastoral world of The Fickle Shepherdess, Amanda Eubanks Winkler; "Let all be husht": songs in praise of Anne Bracegirdle and Arabella Hunt, Anthony Rooley; Burning and stoic men: mad rants and the performance of passionate pain in the plays of Nathaniel Lee, 1674 to1678, Jennifer Renee Danby; Appreciating Bononcini's Astianatte (1727): an Italian opera for the London stage, Suzana Ograjenšek. Part III Afterpiece: Comedy, Farce, and Competition: The right to write; or, Colley Cibber and The Drury-Lane Monster, Melissa Bloom Bissonette; "Quotation is the sincerest form of ..."?: signature songs as inter-theatrical references, Kathryn Lowerre. Bibliography; Index. | |
| 520 | |a Unlike collections of essays which focus on a single century or whose authors are drawn from a single discipline, this collection reflects the myriad performance options available to London audiences, offering readers a composite portrait of the music, drama, and dance productions that characterized this rich period. Just as the performing arts were deeply interrelated, the essays presented here, by scholars from a range of fields, engage in dialogue with others in the volume. The opening section examines a famous series of 1701 performances based on the competition between composers to set William Congreve's masque The Judgment of Paris to music. The essays in the central section (the "mainpiece") showcase performers and productions on the London stage from a variety of perspectives, including English "tastes" in art and music, the use of dance, the depiction of madness and masculinity in both spoken and musical performances, and genres and modes in the context of contemporary criticism and theatrical practice. A brief afterpiece looks at comic pieces in relation to satire, parody and homage. By bringing together work by scholars of music, dance, and drama, this cross-disciplinary collection illuminates the interconnecting strands that shaped a vibrant theatrical world. (Klappentext) | ||
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Datensatz im Suchindex
| _version_ | 1804150446481211392 |
|---|---|
| adam_text | Titel: The lively arts of the London stage, 1675 - 1725
Autor: Lowerre, Kathryn
Jahr: 2014
Contents
List of Figures vii
List of Music Examples ix
List of Tables xi
Notes on Contributors xiii
Acknowledgments xvii
Introduction 1
PART I FIRST, MUSIC: SETTINGS OF CONGREVE S
JUDGMENT OF PARIS
1 The Singers of The Judgment of Paris 11
Olive Baldwin and Thelma Wilson
2 Harmonía Anglicana or Why Finger Failed in The Prize Musick 27
Robert Rawson
3 The Prize Musick of 1701: A Reinvestigation of the Staging Issue 47
Matt Roberson
PART II MAINPIECE: THE LIVELY ARTS OF THE LONDON STAGE
4 Composing after the Italian Manner: The English Cantata 1700-1710 63
Jennifer Cable
5 Johann Pepusch, Aesthetics, and the Sister Arts 85
Sean M. Parr
6 From Scaramouche to Harlequin: Dances in grotesque characters
on the London Stage 113
Jennifer Thorp
7 Music, Magic, and Morality: Stage Reform and the Pastoral Mode 129
Timothy Neufeldt
vi
The Lively Arts of the London Stage, 1675-1725
8 Madness Free from Vice : Musical Eroticism in the Pastoral
World of The Fickle Shepherdess 149
Amanda Eubanks Winkler
9 Let all be husht : Songs in Praise of Anne Bracegirdle and
Arabella Hunt 171
Anthony Rooley
10 Burning and Stoic Men: Mad Rants and the Performance of
Passionate Pain in the Plays of Nathaniel Lee, 1674 to 1678 191
Jennifer Renee Danby
11 Appreciating Bononcini s Astianatte (1727):
An Italian Opera for the London Stage 209
Suzana Ograjensek
PART III AFTERPIECE: COMEDY, FARCE, AND COMPETITION
12 The Right to Write; or, Colley Cibber and The Drury-Lane Monster 243
Melissa Bloom Bissonette
13 Quotation is the sincerest form of... Signature Songs as
Inter-Theatrical References 259
Kathryn Lowerre
Bibliography 281
Index 299
|
| any_adam_object | 1 |
| author_GND | (DE-588)1042270163 |
| building | Verbundindex |
| bvnumber | BV041077265 |
| callnumber-first | P - Language and Literature |
| callnumber-label | PN2596 |
| callnumber-raw | PN2596.L6 |
| callnumber-search | PN2596.L6 |
| callnumber-sort | PN 42596 L6 |
| callnumber-subject | PN - General Literature |
| classification_rvk | HK 1260 LQ 84404 |
| contents | Introduction. Part I First, Music: Settings of Congreve's Judgment of Paris: The singers of The Judgment of Paris, Olive Baldwin and Thelma Wilson; Harmonia Anglicana or why finger failed in "The price musick", Robert Rawson; The "prize musick" of 1701: a reinvestigation of the staging issue, Matt Robertson. Part II Mainpiece: The Lively Arts of the London Stage: Composing after the Italian manner: the English cantata 1700-1710, Jennifer Cable; Johann Pepusch, aesthetics, and the sister arts, Sean M. Parr; From Scaramouche to Harlequin: dances "in grotesque characters" on the London stage, Jennifer Thorp; Music, magic, and morality: stage reform and the pastoral mode, Timothy Neufeldt; Madness "free from vice": musical eroticism in the pastoral world of The Fickle Shepherdess, Amanda Eubanks Winkler; "Let all be husht": songs in praise of Anne Bracegirdle and Arabella Hunt, Anthony Rooley; Burning and stoic men: mad rants and the performance of passionate pain in the plays of Nathaniel Lee, 1674 to1678, Jennifer Renee Danby; Appreciating Bononcini's Astianatte (1727): an Italian opera for the London stage, Suzana Ograjenšek. Part III Afterpiece: Comedy, Farce, and Competition: The right to write; or, Colley Cibber and The Drury-Lane Monster, Melissa Bloom Bissonette; "Quotation is the sincerest form of ..."?: signature songs as inter-theatrical references, Kathryn Lowerre. Bibliography; Index. |
| ctrlnum | (OCoLC)876870604 (DE-599)BVBBV041077265 |
| dewey-full | 792/.09421 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 792 - Stage presentations |
| dewey-raw | 792/.09421 |
| dewey-search | 792/.09421 |
| dewey-sort | 3792 49421 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines Anglistik / Amerikanistik Musikwissenschaft |
| era | Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1675-1725 gnd |
| era_facet | Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1675-1725 |
| format | Book |
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| language | English |
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| record_format | marc |
| series2 | Performance in the long eighteenth century : studies in theatre, music, dance |
| spelling | The lively arts of the London stage, 1675 - 1725 ed. by Kathryn Lowerre Farnham [u.a.] Ashgate 2014 XV, 306 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Performance in the long eighteenth century : studies in theatre, music, dance Introduction. Part I First, Music: Settings of Congreve's Judgment of Paris: The singers of The Judgment of Paris, Olive Baldwin and Thelma Wilson; Harmonia Anglicana or why finger failed in "The price musick", Robert Rawson; The "prize musick" of 1701: a reinvestigation of the staging issue, Matt Robertson. Part II Mainpiece: The Lively Arts of the London Stage: Composing after the Italian manner: the English cantata 1700-1710, Jennifer Cable; Johann Pepusch, aesthetics, and the sister arts, Sean M. Parr; From Scaramouche to Harlequin: dances "in grotesque characters" on the London stage, Jennifer Thorp; Music, magic, and morality: stage reform and the pastoral mode, Timothy Neufeldt; Madness "free from vice": musical eroticism in the pastoral world of The Fickle Shepherdess, Amanda Eubanks Winkler; "Let all be husht": songs in praise of Anne Bracegirdle and Arabella Hunt, Anthony Rooley; Burning and stoic men: mad rants and the performance of passionate pain in the plays of Nathaniel Lee, 1674 to1678, Jennifer Renee Danby; Appreciating Bononcini's Astianatte (1727): an Italian opera for the London stage, Suzana Ograjenšek. Part III Afterpiece: Comedy, Farce, and Competition: The right to write; or, Colley Cibber and The Drury-Lane Monster, Melissa Bloom Bissonette; "Quotation is the sincerest form of ..."?: signature songs as inter-theatrical references, Kathryn Lowerre. Bibliography; Index. Unlike collections of essays which focus on a single century or whose authors are drawn from a single discipline, this collection reflects the myriad performance options available to London audiences, offering readers a composite portrait of the music, drama, and dance productions that characterized this rich period. Just as the performing arts were deeply interrelated, the essays presented here, by scholars from a range of fields, engage in dialogue with others in the volume. The opening section examines a famous series of 1701 performances based on the competition between composers to set William Congreve's masque The Judgment of Paris to music. The essays in the central section (the "mainpiece") showcase performers and productions on the London stage from a variety of perspectives, including English "tastes" in art and music, the use of dance, the depiction of madness and masculinity in both spoken and musical performances, and genres and modes in the context of contemporary criticism and theatrical practice. A brief afterpiece looks at comic pieces in relation to satire, parody and homage. By bringing together work by scholars of music, dance, and drama, this cross-disciplinary collection illuminates the interconnecting strands that shaped a vibrant theatrical world. (Klappentext) Geschichte 1700-1800 Geschichte 1600-1700 Geschichte 1675-1725 gnd rswk-swf Geschichte Theater England London History 17th century Theater England London History 18th century Musical theater England London History 17th century Musical theater England London History 18th century Musiktheater (DE-588)4040874-7 gnd rswk-swf Theater (DE-588)4059702-7 gnd rswk-swf London (DE-588)4074335-4 gnd rswk-swf London (DE-588)4074335-4 g Theater (DE-588)4059702-7 s Musiktheater (DE-588)4040874-7 s Geschichte 1675-1725 z DE-604 Lowerre, Kathryn 1969- Sonstige (DE-588)1042270163 oth Erscheint auch als Online-Ausgabe, EPUB 978-1-472-40359-9 Erscheint auch als Online-Ausgabe, PDF 978-1-409-45532-5 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026054120&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | The lively arts of the London stage, 1675 - 1725 Introduction. Part I First, Music: Settings of Congreve's Judgment of Paris: The singers of The Judgment of Paris, Olive Baldwin and Thelma Wilson; Harmonia Anglicana or why finger failed in "The price musick", Robert Rawson; The "prize musick" of 1701: a reinvestigation of the staging issue, Matt Robertson. Part II Mainpiece: The Lively Arts of the London Stage: Composing after the Italian manner: the English cantata 1700-1710, Jennifer Cable; Johann Pepusch, aesthetics, and the sister arts, Sean M. Parr; From Scaramouche to Harlequin: dances "in grotesque characters" on the London stage, Jennifer Thorp; Music, magic, and morality: stage reform and the pastoral mode, Timothy Neufeldt; Madness "free from vice": musical eroticism in the pastoral world of The Fickle Shepherdess, Amanda Eubanks Winkler; "Let all be husht": songs in praise of Anne Bracegirdle and Arabella Hunt, Anthony Rooley; Burning and stoic men: mad rants and the performance of passionate pain in the plays of Nathaniel Lee, 1674 to1678, Jennifer Renee Danby; Appreciating Bononcini's Astianatte (1727): an Italian opera for the London stage, Suzana Ograjenšek. Part III Afterpiece: Comedy, Farce, and Competition: The right to write; or, Colley Cibber and The Drury-Lane Monster, Melissa Bloom Bissonette; "Quotation is the sincerest form of ..."?: signature songs as inter-theatrical references, Kathryn Lowerre. Bibliography; Index. Geschichte Theater England London History 17th century Theater England London History 18th century Musical theater England London History 17th century Musical theater England London History 18th century Musiktheater (DE-588)4040874-7 gnd Theater (DE-588)4059702-7 gnd |
| subject_GND | (DE-588)4040874-7 (DE-588)4059702-7 (DE-588)4074335-4 |
| title | The lively arts of the London stage, 1675 - 1725 |
| title_auth | The lively arts of the London stage, 1675 - 1725 |
| title_exact_search | The lively arts of the London stage, 1675 - 1725 |
| title_full | The lively arts of the London stage, 1675 - 1725 ed. by Kathryn Lowerre |
| title_fullStr | The lively arts of the London stage, 1675 - 1725 ed. by Kathryn Lowerre |
| title_full_unstemmed | The lively arts of the London stage, 1675 - 1725 ed. by Kathryn Lowerre |
| title_short | The lively arts of the London stage, 1675 - 1725 |
| title_sort | the lively arts of the london stage 1675 1725 |
| topic | Geschichte Theater England London History 17th century Theater England London History 18th century Musical theater England London History 17th century Musical theater England London History 18th century Musiktheater (DE-588)4040874-7 gnd Theater (DE-588)4059702-7 gnd |
| topic_facet | Geschichte Theater England London History 17th century Theater England London History 18th century Musical theater England London History 17th century Musical theater England London History 18th century Musiktheater Theater London |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026054120&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT lowerrekathryn thelivelyartsofthelondonstage16751725 |