James Robinson Planchã© Papers
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Theatre and Music in Roman Macedonia
TRIANTAFYllIA GIANNOU THEATRE AND MUSIC IN ROMAN MACEDONIA To Prof. G. M. Sifakis, with gratitude ABSTRACT: This article aims to examine theatrical and musical activ ity in the Macedonian region during the Roman era. Literary and epi graphic evidence, theatre buildings and dramatic monuments present only some facets of the diversity of cultural life in Roman Macedonia, which we endeavour to reconstitute. At the same time, through the extant scraps of information we attempt to trace the history of Greek theatre up to the end of the Imperial age, stressing the scenic and thymelic contests but also including the performances of musicians, mimes, pantomimes, and other “paratheatrical” artists. HE FIRST DECADES OF ROMAN SOVEREIGNTY over the Macedonian Tkingdom were a time of cultural and economic decline; gradually, how ever, some of the new administrative centres (e.g. Amphipolis and Thes salonike) would become active, Beroia would assume a more important role, and Roman colonies would be founded. This is the new political con text within which we shall be following both the continuation of panhel lenic and local theatrical and musical shows and the changes that emerged in the artistic and religious life of the Macedonians through the interven tions of the Roman administration and the impact of Roman culture gen erally. Our attention will focus on theatrical and musical events and on performances of “paratheatrical” artists: mimes, dancers, buffoons, con * This study was written within the framework of the “Ancient Theatre Electronic Docu mentation Project” (under the aegis of the Institute for Mediterranean Studies); the first part was published in Logeion 6 (2016); a version of it was published in Greek (2012). -
Olimpie Olimpie
gaspare spontini : olimpie Olimpie Tragédie lyrique en trois actes, imitée de Voltaire, sur un livret de Charles Brifaut et Michel Dieulafoy, créée dans sa deuxième version au théâtre de l’Académie royale de musique le 27 février 1826. Création dans sa première version en 1819. Éditions Fondazione Pergolesi Spontini, Jesi (Italie), en collaboration avec le Palazzetto Bru Zane. Édition critique sous la direction de Federico Agostinelli. PERSONNAGES : Cassandre , fils d’Antipatre, roi de Macédoine Antigone , roi d’une partie de l’Asie Statira , veuve d’Alexandre, connue d’abord sous le nom d’Arzane Olimpie , fille d’Alexandre et de Statira connue d’abord sous le nom d’Aménaïs L’Hiérophante , grand-prêtre Arbate , officier de Cassandre Hermas , officier d’Antigone Prêtres, Ministres inférieurs, Initiés, Mages, Prêtresses, Grands du royaume, Soldats, Bacchantes, Amazones, Navigateurs , etc . La scène est à Éphèse. Olimpie Lyric tragedy in three acts, after Voltaire, on a libretto by Charles Brifaut and Michel Dieulafoy, revived at the theatre of the Académie Royale de Musique on 27 February 1826. First version premiered in 1819. Published by Fondazione Pergolesi Spontini, Jesi (Italy), in collaboration with the Palazzetto Bru Zane. Critical edition under the supervision of Federico Agostinelli. DRAMATIS PERSONÆ: Cassander , son of Antipater, King of Macedonia Antigonus , King of part of Asia Statira , widow of Alexander, living under the name of Arzane Olympias , daughter of Alexander and Statira, living under the name of Amenaïs The Hierophant , the high priest who presides over the celebration of the great mysteries Arbates , officer of Cassander Hermas , officer of Antigonus Priests, Lesser ministers, Initiates, Soothsayers, Priestesses, Nobles of the realm, Soldiers, Bacchantes, Amazons, Navigators , etc . -
''Olympie'' De Spontini, Entre Tragédie Lyrique Et Grand Opéra
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hal - Université Grenoble Alpes "Olympie" de Spontini, entre trag´edielyrique et grand op´era Olivier Bara To cite this version: Olivier Bara. "Olympie" de Spontini, entre trag´edielyrique et grand op´era.Voltaire `al'op´era, Classiques Garnier, pp.111-134, 2011. <hal-00909764> HAL Id: hal-00909764 https://hal.archives-ouvertes.fr/hal-00909764 Submitted on 26 Nov 2013 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. Olympie de Spontini, entre tragédie lyrique et grand opéra Tout travail sur l’adaptation lyrique des œuvres littéraires a pour mérite d’attirer l’attention sur quelques titres oubliés de l’histoire de l’opéra, éclairés seulement par le nom illustre de l’écrivain qui en fournit la source. Le danger peut toutefois être double. On prêtera volontiers une trop grande attention à quelque œuvre mineure, rehaussée exagérément par une origine littéraire qu’elle ne mérite guère. On prêtera beaucoup, aussi, à tel écrivain censé avoir nourri, à son corps défendant et en tout anachronisme, tantôt le melodramma romantique, tantôt le grand opéra historique, simplement parce que ces genres lyriques ont puisé dans son œuvre. -
Spontini's Olimpie: Between Tragédie Lyrique and Grand Opéra
Spontini’s Olimpie : between tragédie lyrique and grand opéra Olivier Bara Any study of operatic adaptations of literary works has the merit of draw - ing attention to forgotten titles from the history of opera, illuminated only by the illustrious name of the writer who provided their source. The danger, however, may be twofold. It is easy to lavish excessive attention on some minor work given exaggerated importance by a literary origin of which it is scarcely worthy. Similarly, much credit may be accorded to such-and-such a writer who is supposed – however unwittingly and anachronistically – to have nurtured the Romantic melodramma or the historical grand opéra , simply because those operatic genres have drawn on his or her work. The risk is of creating a double aesthetic confusion, with the source work obscured by the adapted work, which in turn obscures its model. In the case of Olimpie , the tragédie lyrique of Gaspare Spontini, the first danger is averted easily enough: the composer of La Vestale deserves our interest in all his operatic output, even in a work that never enjoyed the expected success in France. There remains the second peril. Olimpie the tragédie lyrique , premiered in its multiple versions between 1819 and 1826, is based on a tragedy by Voltaire dating from 1762. Composed in a period of transition by a figure who had triumphed during the Empire period, it is inspired by a Voltaire play less well known (and less admired) than Zaïre , Sémiramis or Le Fanatisme . Hence Spontini’s work, on which its Voltairean origin sheds but little light, initially seems enigmatic in 59 gaspare spontini: olimpie aesthetic terms: while still faithful to the subjects and forms of the tragédie lyrique , it has the reputation of having blazed the trail for Romantic grand opéra , so that Voltaire might be seen, through a retrospective illusion, as a distant instigator of that genre. -
Tracce Plutarchee Fra Due Penisole Nella Scia Di Decembrio: Umanesimi E Umanesimi Volgari Marta Materni
Tracce plutarchee fra due penisole nella scia di Decembrio: umanesimi e umanesimi volgari Marta Materni To cite this version: Marta Materni. Tracce plutarchee fra due penisole nella scia di Decembrio: umanesimi e umanesimi volgari. Revista de Literatura Medieval, Universidad de Alcalá, 2014, 26, pp.245-297. hal-02075492 HAL Id: hal-02075492 https://hal.archives-ouvertes.fr/hal-02075492 Submitted on 21 Mar 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. TRACCE PLUTARCHEE FRA DUE PENISOLE NELLA SCIA DI DECEMBRIO: UMANESIMI E UMANESIMI VOLGARI Marta MATERNI Università di Roma “La Sapienza” Un umanista italiano –Pier Candido Decembrio–, la Penisola Iberica –comprese le sue propaggini sul territorio italiano meridiona- le–, e un testo di Plutarco più volte tradotto: non intendo qui inoltrarmi nell’annoso dibattito sull’esistenza o meno di un, variamente definito, “umanesimo castigliano”1, dibattito del quale si possono agevolmen- te rinvenire numerosi status quaestionis2; ma mi limiterò a dichiarare, come premessa, la mia condivisione del panorama offerto da Jeremy N. H. Lawrance e ben sintetizzato dall’espressione humanismo vernáculo, e l’adesione a un’affermazione di questo tipo: «La perspectiva del hu- manismo italiano no me parece la única posible, ni siquiera la más in- dicada. -
The Farces of John Maddison Morton
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 The aF rces of John Maddison Morton. Billy Dean Parsons Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Parsons, Billy Dean, "The aF rces of John Maddison Morton." (1971). LSU Historical Dissertations and Theses. 1940. https://digitalcommons.lsu.edu/gradschool_disstheses/1940 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. PARSONS, Billy Dean, 1930- THE FARCES OF JOHN MADDISON MORTON. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Speech-Theater University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1971 BILLY DEAN PARSONS ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE FAECES OF JOHN MADDISON MORTON A DISSERTATION Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech / by Billy Dean Parsons B.A., Georgetown College, 1955 M.A., Louisiana State University, 1958 January, 1971 ACKNOWLEDGMENTS The writer wishes to express his deep appreciation to Dr•Claude L« Shaver for his guidance and encourage ment in the writing of this dissertation and through years of graduate study• He would also like to express his gratitude to Dr. -
Plimpton Collection of Dramas 1675-1920 (Bulk 1850-1900)
AMHERST COLLEGE ARCHIVES AND SPECIAL COLLECTIONS Plimpton Collection of Dramas 1675-1920 (bulk 1850-1900) Summary: A collection of 1429 plays, largely from nineteenth century American and Brisish popular theater. Quantity: 14 linear feet Listed by: Neha Wadia, AC 2013, Student Assistant Note: These plays are cataloged in the Amherst College online catalog. To find the complete listing in the catalog, do a basic keyword search for “Plimpton collection of dramas”. Individual plays can be searched by title and author. The call number for the collection is PN6111.P5 © 2013 Amherst College Archives and Special Collections Page 1 Plimpton Collection of Dramas INTRODUCTION THE PLIMPTON COLLECTION OF PLAYS by Curtis Canfield Originally published in the Amherst Graduates’ Quarterly, May 1932 Mr. George A. Plimpton, ’76, recently presented to the college a large collection of material relating to the English and American theatre of the nineteenth century. More than 1200 plays are represented in the collection in addition to numerous playbills, programs, libretti, histories, and after-pieces, as well as an autographed photograph of Edwin Booth as Richelieu. The collection seems to have been a part of the extensive theatrical library of Mr. Edward Boltwood of Pittsfield, whose father was born in Amherst in 1839 and moved to Pittsfield in 1870. Mr. Boltwood, although an active member of the Berkshire bar, made the theatre his avocation and found time to write a number of small pieces for the stage, one of which is included in the present collection. He was also instrumental in establishing the William Parke Stock Company in Pittsfield, and continued his connection with this company by writing reviews of its plays. -
Melodrama: Metropolis: Modernity
CORE Metadata, citation and similar papers at core.ac.uk Provided by Goldsmiths Research Online GOLDSMITHS Research Online Thesis (PhD) Reid, Margaret Melodrama: Metropolis: Modernity You may cite this version as: Reid, Margaret. 2011. Melodrama: Metropolis: Modernity. Doctoral thesis, Goldsmiths, University of London. [Thesis]: Goldsmiths Research Online. Available at: http://eprints.gold.ac.uk/6541/ COPYRIGHT This is a thesis accepted for a Higher Degree of the University of London. It is an unpublished document and the copyright is held by the author. All persons consulting this thesis must read and abide by the Copyright Declaration below. COPYRIGHT DECLARATION I recognise that the copyright and other relevant Intellectual Property Rights (IPR) of the above- described thesis rests with the author and/or other IPR holders and that no quotation from it or information derived from it may be published without the prior written consent of the author. ACCESS A non-exclusive, non-transferable licence is hereby granted to those using or reproducing, in whole or in part, the material for valid purposes, providing the copyright owners are acknowledged using the normal conventions. Where specific permission to use material is required, this is identified and such permission must be sought from the copyright holder or agency cited. REPRODUCTION All material supplied via Goldsmiths Library and Goldsmiths Research Online (GRO) is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the Data Collections is not permitted, except that material may be duplicated by you for your research use or for educational purposes in electronic or print form. -
Xerox University Microfilms
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German Writers on German Opera, 1798–1830
! "# $ % & % ' % !"# $!%$! &#' !' "(&(&()(( *+*,(-!*,(."(/0 ' "# ' '% $$(' $(#1$2/ 3((&/ 14(/ Propagating a National Genre: German Writers on German Opera, 1798–1830 A Dissertation submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2010 by Kevin Robert Burke BM Appalachian State University, 2002 MM University of Cincinnati, 2004 Committee Chair: Dr. Mary Sue Morrow ABSTRACT Standard histories of Western music have settled on the phrase “German Romantic opera” to characterize German operatic developments in the early part of the nineteenth century. A consideration of over 1500 opera reviews from close to thirty periodicals, however, paints a more complex picture. In addition to a fascination with the supernatural, composers were drawn to a variety of libretti, including Biblical and Classical topics, and considered the application of recitative and other conventions most historians have overlooked because of their un-German heritage. Despite the variety of approaches and conceptions of what a German opera might look like, writers from Vienna to Kassel shared a common aspiration to develop a true German opera. The new language of concert criticism found from specialized music journals like the Allgemeine musikalische Zeitung to the entertainment inserts of feuilletons like the Zeitung für die elegante Welt made the operatic endeavor of the early nineteenth century a national one rather than a regional one as it was in the eighteenth century. ii Copyright 2010, Kevin Robert Burke iii ACKNOWLEDGEMENTS First, I would like to offer gratitude to all my colleagues, friends, and family who supported me with encouraging words, a listening ear, and moments of celebration at the end of each stage. -
Miscellanea Historico-Iuridica Współautorzy Tomu XIII
Miscellanea Historico-Iuridica Współautorzy tomu XIII Filip Cyuńczyk (Uniwersytet w Białymstoku) Elisabetta Fiocchi Malaspina (University of Genoa) Michał Gałędek (Uniwersytet Gdański) Jacek Goclon (Uniwersytet Wrocławski) Łukasz Gołaszewski (Uniwersytet Warszawski) Piotr Kołodko (Uniwersytet w Białymstoku) Liubou Krasnitskaya (Uniwersytet w Białymstoku) Marcin Łysko (Uniwersytet w Białymstoku) Piotr Niczyporuk (Uniwersytet w Białymstoku) Rafael Ramis-Barcelo´ (Universitat de les Illes Balears) Belinda Rodr´ıguez Arrocha (Universidad de La Laguna, Espana)˜ Stephanie Rohlfing-Dijoux (Universite´ Paris Ouest Nanterre La Defense)´ Stanisław Salmonowicz (Uniwersytet Mikołaja Kopernika w Toruniu) Otmar Seul (Universite´ Paris Ouest Nanterre La Defense)´ Krzysztof Szczygielski (Uniwersytet w Białymstoku) Konrad Tomasz Tadajczyk (Uniwersytet Łódzki) Laura Magdalena Trocan (University „Constantin Brancusi” of Targu-Jiu,ˆ Romania) Krzysztof Żochowski (Uniwersytet w Biaymstoku) UNIWERSYTET W BIAŁYMSTOKU WYDZIAŁ PRAWA KATEDRA NAUK HISTORYCZNOPRAWNYCH I KOMPARATYSTYKI PRAWNICZEJ Zakład Historii Państwa i Prawa Miscellanea Historico-Iuridica Tom XIII, z. 1 pod redakcją Izabeli Kraśnickiej Białystok 2014 Rada Naukowa/Scientific Board: Adam Czarnota (University of Białystok and International Institute for the Sociology of Law, Onati,˜ Spain); Soazick Kerneis (Universite´ Paris Ouest Nanterre La Defense,´ France); Adam Lityński (Humanitas University, Sosnowiec, Poland); Marju Luts-Sootak (University of Tartu, Estonia); Piotr Niczyporuk (University of Białystok, -
The Theatre in Mississippi from 1840 to 1870. Guy Herbert Keeton Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 The Theatre in Mississippi From 1840 to 1870. Guy Herbert Keeton Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Keeton, Guy Herbert, "The Theatre in Mississippi From 1840 to 1870." (1979). LSU Historical Dissertations and Theses. 3399. https://digitalcommons.lsu.edu/gradschool_disstheses/3399 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Pagefs)”. If it was possible to obtain the missing pagefs) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy.