Contextualizing melodrama in the Czech lands: in concert and on stage
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
2021
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| Schriftenreihe: | Ashgate interdisciplinary studies in opera
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xv, 243 Seiten Notenbeispiele |
| ISBN: | 9780367479220 |
Internformat
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents List of illustrations Acknowledgments Preface 1 The musical melodrama: rationality overruled x xii xiv 1 Defining melodrama 2 The popular theatrical melodrama 7 The musical melodrama as a targetfor criticism 8 The place of melodrama in the rehabilitation of Czech culture 11 Tracing melodrama in Bohemia from Benda to the present 13 2 The path to Benda’s melodramas: from the Jesuit Schuldrama through Rousseau’s experiment in Pygmalion The Jesuit Schuldrama 19 Rousseau, Pygmalion, and the object of desire 25 3 A place in the theatre: the impact of Jiří Benda and the Şeyler company on melodrama Schweitzer ’s Pygmalion 36 Point: Ariadne auf Naxos and actress Charlotte Brandes 37 Counterpoint: Medea and actress Sophie Şeyler 40 Benda ’s preparation for a revised genre 41 Ariadne aufNaxos (1774) 43 Medea (1775) 47 The path continues 51 Philon und Theone (1779), revised as Almansor und Nadine 51 Pygmalion (1779) 52 The immediate aftermath 56 18 34
viii Contents 4 The sacred and the profane: melodrama in Prague The profane: Praupner ’s Circe (1789) 62 The sacred: Škroup ’s Bratrovrah (1830) 69 5 From Paris and the Boulevard du Crime to Prague’s Estates Theatre: tracing the popular melodrama The early history 80 The characters and plots through Pixérécourt ’s Le Chien de Montargis 82 Animals and actors in popular theatre 84 The dog 84 The actors 85 The other animals 86 Character evolution in the popular melodrama: Drei Tage aus dem Leben emes Spielers and Yelva, oder die Stumme 89 Characters, plots, andperformers 89 The music 93 6 Zdeněk Fibich and the revitalization of the classical melodrama Personal intersections andprogressive trends: collaborator Jaroslav Vrchlický and the Lumirovci 108 The making ofthe concert melodrama 111 7 Fibich’s concert melodramas: a closer look Štědrý den (Christmas Day, 1875) 120 Performance history 121 Pomsta květin (The Revenge ofthe Flowers, 1877) 122 Performance history 123 Věčnost (Eternity, 1878) 124 Performance history 124 Vodník (The Water Sprite, 1883) 125 Performance history 126 Královna Ema (Queen Emma, 1883) 127 Performance history 128 A briefsummation 129 A continuation 129 Hakon (1888) 130 Performance history 131 Comparative analysis 132
Contents ix Fibich ’s selection ofsuitable texts 133 The intrusion of the supernatural 133 The predominance ofdarker emotions 134 Fibich as the interpreter ofthe text 135 Formal structure 135 Incorporating small-scale musicalforms 137 Recurring motives as identifiers 137 Conveying personality in minor characters 146 Conveying suspense and depicting mood 146 Musical descriptions ofphysical action 147 Translating nature to music 149 Instrumentation as informant 152 Performance considerations 153 Methods ofsetting the text 153 Assisting the reciter 156 Conclusions and projections 157 8 Fibich’s Hippodame·, melodrama for the dramatic stage 165 Accepting the challenge and making history 165 Hippodamie through the text and music 173 9 Epilogue 193 JosefBohuslav Foerster (1859-1951) 194 Otakar Ostrčil (1879-1935) 198 JosefSuk (1874-1934) 205 The state of Czech melodrama in the late twentieth and early twenty-first centuries 209 Appenda: synopses ofselected melodramas Bibliography Index 214 223 236
|
| adam_txt |
Contents List of illustrations Acknowledgments Preface 1 The musical melodrama: rationality overruled x xii xiv 1 Defining melodrama 2 The popular theatrical melodrama 7 The musical melodrama as a targetfor criticism 8 The place of melodrama in the rehabilitation of Czech culture 11 Tracing melodrama in Bohemia from Benda to the present 13 2 The path to Benda’s melodramas: from the Jesuit Schuldrama through Rousseau’s experiment in Pygmalion The Jesuit Schuldrama 19 Rousseau, Pygmalion, and the object of desire 25 3 A place in the theatre: the impact of Jiří Benda and the Şeyler company on melodrama Schweitzer ’s Pygmalion 36 Point: Ariadne auf Naxos and actress Charlotte Brandes 37 Counterpoint: Medea and actress Sophie Şeyler 40 Benda ’s preparation for a revised genre 41 Ariadne aufNaxos (1774) 43 Medea (1775) 47 The path continues 51 Philon und Theone (1779), revised as Almansor und Nadine 51 Pygmalion (1779) 52 The immediate aftermath 56 18 34
viii Contents 4 The sacred and the profane: melodrama in Prague The profane: Praupner ’s Circe (1789) 62 The sacred: Škroup ’s Bratrovrah (1830) 69 5 From Paris and the Boulevard du Crime to Prague’s Estates Theatre: tracing the popular melodrama The early history 80 The characters and plots through Pixérécourt ’s Le Chien de Montargis 82 Animals and actors in popular theatre 84 The dog 84 The actors 85 The other animals 86 Character evolution in the popular melodrama: Drei Tage aus dem Leben emes Spielers and Yelva, oder die Stumme 89 Characters, plots, andperformers 89 The music 93 6 Zdeněk Fibich and the revitalization of the classical melodrama Personal intersections andprogressive trends: collaborator Jaroslav Vrchlický and the Lumirovci 108 The making ofthe concert melodrama 111 7 Fibich’s concert melodramas: a closer look Štědrý den (Christmas Day, 1875) 120 Performance history 121 Pomsta květin (The Revenge ofthe Flowers, 1877) 122 Performance history 123 Věčnost (Eternity, 1878) 124 Performance history 124 Vodník (The Water Sprite, 1883) 125 Performance history 126 Královna Ema (Queen Emma, 1883) 127 Performance history 128 A briefsummation 129 A continuation 129 Hakon (1888) 130 Performance history 131 Comparative analysis 132
Contents ix Fibich ’s selection ofsuitable texts 133 The intrusion of the supernatural 133 The predominance ofdarker emotions 134 Fibich as the interpreter ofthe text 135 Formal structure 135 Incorporating small-scale musicalforms 137 Recurring motives as identifiers 137 Conveying personality in minor characters 146 Conveying suspense and depicting mood 146 Musical descriptions ofphysical action 147 Translating nature to music 149 Instrumentation as informant 152 Performance considerations 153 Methods ofsetting the text 153 Assisting the reciter 156 Conclusions and projections 157 8 Fibich’s Hippodame·, melodrama for the dramatic stage 165 Accepting the challenge and making history 165 Hippodamie through the text and music 173 9 Epilogue 193 JosefBohuslav Foerster (1859-1951) 194 Otakar Ostrčil (1879-1935) 198 JosefSuk (1874-1934) 205 The state of Czech melodrama in the late twentieth and early twenty-first centuries 209 Appenda: synopses ofselected melodramas Bibliography Index 214 223 236 |
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| spelling | Mabary, Judith Verfasser (DE-588)143362968 aut Contextualizing melodrama in the Czech lands in concert and on stage Judith A. Mabary London ; New York Routledge, Taylor & Francis Group 2021 xv, 243 Seiten Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Ashgate interdisciplinary studies in opera Geschichte gnd rswk-swf Melodrama (DE-588)4122277-5 gnd rswk-swf Tschechien (DE-588)4303381-7 gnd rswk-swf Opera / Czech Republic Melodrama Opera Czech Republic Tschechien (DE-588)4303381-7 g Melodrama (DE-588)4122277-5 s Geschichte z DE-604 Erscheint auch als Online-Ausgabe, ebk. 978-1-00-016891-4 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032574745&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Contextualizing melodrama in the Czech lands in concert and on stage |
| title_auth | Contextualizing melodrama in the Czech lands in concert and on stage |
| title_exact_search | Contextualizing melodrama in the Czech lands in concert and on stage |
| title_exact_search_txtP | Contextualizing melodrama in the Czech lands in concert and on stage |
| title_full | Contextualizing melodrama in the Czech lands in concert and on stage Judith A. Mabary |
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| title_full_unstemmed | Contextualizing melodrama in the Czech lands in concert and on stage Judith A. Mabary |
| title_short | Contextualizing melodrama in the Czech lands |
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| topic_facet | Melodrama Tschechien |
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