DOCSLIB.ORG

Antigona Van Tommaso Traetta Wo 2, Do 3 April 2003 Om Dramaturgische Redenen Zijn in De Partituur Enige Coupures Aangebracht

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Antigona Van Tommaso Traetta Wo 2, Do 3 April 2003 Om Dramaturgische Redenen Zijn in De Partituur Enige Coupures Aangebracht Muziektheater Transparant Antigona van Tommaso Traetta wo 2, do 3 april 2003 Om dramaturgische redenen zijn in de partituur enige coupures aangebracht. redactie programmaboekje deSingel en Janine Brogt druk Tegendruk duur van de voorstelling: deel 1 1 uur pauze 25 minuten deel 2 1 uur spreektaal Italiaans . boventiteling Nederlands bediening boventiteling Bart Boone gelieve uw GSM uit te schakelen! Muziektheater Transparant Antigona van Tommaso Traetta dirigent Paul Dombrecht assistent-dirigent Ewald Demeyere regie Gerardjan Rijnders regieassistent en voorstellingsleider Remi Beelprez muzikale uitvoering orkest Il Fondamento repetente Noémi Biro koor La Sfera del Canto verantwoordelijke dramaturgie Janine Brogt licht- en standenplan Tom Verheijen decor Paul Gallis verantwoordelijke belichting Luc De Vreese kostuums Rien Bekkers productieleiding Veerle Francke licht Reinier Tweebeeke technische leiding Roel Ghesquière beweging Bambi Uden lichttechnici Koen Ghesquière, Dag Jennes podiumtechnici Anton Devilder, Koen Ghesquière, rolverdeling Maarten Streefland Antigona, prinses van Thebe Raffaella Milanesi rigging Jan Hooyberghs Ismene, haar zuster Giorgia Milanesi coördinatie orkest en koor Philippe Severyns Creonte, haar oom Markus Brutscher vertaling libretto Janine Brogt Emone, Creonte’s zoon Maartje de Lint assistentie dramaturgie Bart Boone Adrasto, een Thebaans edelman David-Erich Fankhauser kleedsters Viviane Coubergs, Reintje Daens orkest kap en grime Sylvia Hiel, Leen Samyn viool Dirk Van Daele, Marianne Herssens, Maia Silberstein, Johan van Aken, uitvoering decor Het Toneelhuis Nooi Struynckx, Bernadette Bracke, olv. Martin Baarda en Els Sykora, Mitsyo Kondo, Ilya Van de Wateringen Marleen Van Daele technici Bruno Bressanuti, Ivan Deelen, altviool Marc Claes, Hans De Volder Patrick Jacobs, Karl Scheinder, Kaat De Cock Sanne Roels cello Jan Bontinck, Thomas Luks schilderwerken en 3D-elementen Prosman Decors contrabas Eric Mathot special effects Gerardfx hobo Griet Cornelis, Vinciane Baudhuin bouw maquette Ellen Windhorst fagot Alain De Rijckere pruiken Atelier Sjoerd Didden fluit Kyomi Suga, Jan Van Den Borre hoofdtooien Elizabeth Van der Helm hoorn Jeroen Billiet, Piet Dombrecht uitvoering kostuums Carla Kienhuis, trompet Hendrik-Jan Houtsma, Geerten Rooze Roy Verschuren, klarinet Joost Hekel, Igor Bettens Gina Thondat luit Wim Maeseele clavecimbel David Van Bouwel met dank aan directie en technici van het Concertgebouw Brugge, koor Het Toneelhuis, sopranen Ria Struyven, Liesbeth Devos, Nationale Reisopera, Bianca van Puyvelde, deSingel, De Munt, Marina Smolders, Nele Peeters het Kaaitheater, alten Marleen Schampaert, De Vlaamse Opera Gunther Van de Ven, Anna Pardon, met de steun van de Vlaamse Gemeenschap, Dimitry Goethals Kolgen bvba, Radio Klara tenoren Yves van Handenhove, Werner Trio, Renaat Deckers, Marc Van Daele productie van Muziektheater Transparant bassen Jurgen Vollens, Walter Van De Ven, in coproductie met Brugge 2002, Culturele hoofdstad Thomas Van Lede, Paul Mertens van Europa , orkestregie Philippe Severyns Salamanca 2002 ANTIGONA (1772) een 'ganz göttliche Oper' van Tommaso Traetta en Marco Coltellini Op 11 november 1772 werd in het hoftheater van Sint- Petersburg een nieuwe opera gecreëerd: ‘Antigona’. De zojuist doorgevoerde muzikale reorganisatie legde geen windeieren, want de productie was voornamelijk in handen van nieuwbakken hofkunstenaars: de befaamde sopranen Caterina en Francesca Gabrielli (respectievelijk Antigona en Ismene), librettist Marco Coltellini en choreograaf Antonio Pitrot. Deze troeven, gekoppeld aan het muzikale talent van Tommaso Traetta, leverden een imposante 'tragedia per musica' op. De 'grote' tsarina Catharina II was een heerseres van haar tijd. Ze had een fijne neus voor kunst en kon daarvoor op Italiaanse vaklui terugvallen. Opera seria gold als een uitge- sproken Italiaanse specialiteit. Toen de hofcomponist Baldas- sare Galuppi, een Venetiaan, in 1768 naar andere oorden trok, werd een Napolitaan als ‘maestro di cappella’ aange- steld: Tommaso Traetta. Tommaso Tra(j)etta (1727-1779) De uit Bitonto afkomstige componist werd tussen 1738 en 1748 in het Napolitaanse Conservatorio di Santa Maria di Loreto opgeleid. Hij stond er onder de hoede van Nicola Por- pora en Francesco Durante, twee toonaangevende compo- nisten. Zoals vele taalgenoten specialiseerde Traetta zich in het ernstig-heroïsche 'dramma per musica', dat door de libret- ti van Pietro Metastasio (1698-1782) werd beheerst. Liefst twaalf Metastasio-drammi werden integraal met Traetta- © Herman Sorgeloos muziek gestoffeerd. Vanaf het midden van de achttiende eeuw ontstonden ech- mijn ideeën over het muziekdrama geen lucht waren en dat ter talrijke reacties, revisies of hervormingen, die de meta- mijn stem geen 'vox clamantis in deserto' bleef", zo schreef stasiaanse opera (seria) in een nieuwe richting dreven. Van een trotse Algarotti op 14 november 1761 aan Voltaire. Aan- de 'hervormingsbeweging' is het wellicht Christoph Willi- leiding van zijn uitlatingen waren de vroegste toepassingen bald (von) Gluck (1714-1787) die de diepste sporen heeft op zijn theorie: de Parmese producties ‘Ippolito ed Aricia’ achtergelaten. Dit dankt Gluck voornamelijk aan zijn voor- (1759) en ‘I Tindaridi’ (1760) van Carlo Innocenzo Frugoni woord tot ‘Alceste’ (Wenen, 1767) waarin hij de krachtlijnen met muziek van… Tommaso Traetta. Deze opera's werden van de strekking opsomde: de vereenvoudiging van de zang- naar 'tragédies lyriques' van Jean-Philippe Rameau gemo- lijn door het ontdoen van virtuoze excessen, een duidelijke delleerd (respectievelijk ‘Hippolyte et Aricie’ en ‘Castor et karaktertekening, een heldere plot, een dramatisch zinvolle Pollux’). Aldus waren ze rijk aan koren en balletten, elemen- ouverture en een actief koor. De inzichten van Gluck waren ten die in het traditionele ‘dramma per musica’ grotendeels echter meer een synthese van het pionierswerk van derden ontbraken. Algarotti had blijkbaar geen weet van de opera's dan het manifest van een enkeling. die nóg eerder in Stuttgart voor sensatie zorgden en gelijkaardige kenmerken vertoonden. We hebben het over 'Een nieuwe spektakelvorm' ‘Pelope’ en ‘Enea nel Lazio’ (beide 1755) van Niccolò Jom- In de traktaten van Johann Christian Gottfried Krause (‘Von melli (1714-1774), Traetta's toeverlaat. der musikalischen Poesie’, 1752) en Francesco Algarotti Binnen de kortste tijd ontpopte Traetta zich tot de hipste (‘Saggio sopra l'opera in musica’, 1754/5), twee leden van operacomponist van zijn tijd. Vooral zijn ‘Armida’ (Wenen, het Berlijnse hof, vinden we reeds Glucks credo's terug. 1761) en ‘Sofonisba’ (Mannheim, 1762) genoten weldra een Beide theoretici wilden het ‘dramma per musica’ tot een vol- groot prestige. Dit belette Traetta niet om, zoals Gluck, door waardig schouwspel omvormen waarin poëzie, muziek, te gaan met het componeren van metastasiaanse opera's, zang, declamatie, dans en scenografie in organische samen- waarmee hij over de belangrijkste schouwburgen van Euro- werking stonden. Hieromtrent herinnerde Algarotti zich het pa zegevierde. Terwijl Italië aan de belcantotraditie vasthield, vroegzeventiende-eeuwse opera waarin mythologische bewandelden vele, noordelijk gelegen hoven (Wenen, Mann- onderwerpen (Daphne, Ariadne, Euridice, …) op een oog- heim, Sint-Petersburg, Stuttgart…) minder platgetreden verblindende wijze voorgesteld werden. Van dit barokke paden. Om deze situatie te begrijpen, moeten we op een vier- operatype loofde hij het geringe aantal personages en het tal trends uit de toenmalige culturele context wijzen. hoge spektakelgehalte, dat enkel via een groot budget (en Ten eerste was er het neoclassicisme. De opgravingen in Pom- een aristocratisch patronaat) kon verwezenlijkt worden. peji en Herculaneum en de geschriften van Johann Joachim Metastasio werd echter niét door het slijk gehaald: zijn gra- Winckelmann (1717-1768) brachten Europa in hernieuwd con- cieus taalgebruik gold evenzeer als lichtend voorbeeld. Voor tact met de 'edle Einfalt und stille Größe' van de Helleense de muziek dachten Krause en Algarotti overigens allereerst cultuur. De impact ervan blijkt duidelijk uit de nieuwe opera aan Johann Adolf Hasse (1699-1783), Metastasio's trouwe seria-esthetica, meer bepaald in de voorkeur voor mythische medewerker. figuren (Orpheus, Alkestis of Antigone) en sobere, maar tra- "Het doet mij belangeloos genoegen te mogen ervaren dat gische verhaalstructuren. Vanaf de zestiger jaren nestelde zich een tweede invloed in ideeën na een snoepreisje naar Frankrijk. Ten slotte, maar het cultuurleven: de preromantiek. Terwijl de hoofdstrek- niet onbelangrijk, had ook Catharina II een bloeiende inte- king van de Verlichting zich rationalistisch opstelde, keerde resse voor de Franse cultuur. In nabootsing van Frederik de een andere er zich van af door een gevoelsmatige levens- Grote, die Voltaire in 1750 naar zijn Potsdamse lustkasteel houding aan te nemen. Vooral in de Duitse poëzie en het uitnodigde, haalde ze Denis Diderot in 1773 naar Sint- drama – men spreekt in dat geval van 'Sturm und Drang'- Petersburg voor een langdurig onderonsje over kunst en literatuur – stonden eigenzinnige geesten op, denken we filosofie. maar aan Goethe of Schiller. De motieven van hun gedich- In het Sint-Petersburg van 1772 waaide dus een neoclassi- ten en drama's behandelden de vader-, moeder- en kinder- cistische, francofiele en preromantische wind. Dit blijkt uit moord, de revolte tegen de tirannieke willekeur, gebroken de keuze voor het Antigone-thema. Catharina II
Load more

Recommended publications
  • Marginalia and Commentaries in the Papyri of Euripides, Sophocles and Aristophanes
    Nikolaos Athanassiou Marginalia and Commentaries in the Papyri of Euripides, Sophocles and Aristophanes PhD thesis / Dept. of Greek and Latin University College London London 1999 C Name of candidate: Nikolaos Athanassiou Title of Thesis: Marginalia and commentaries in the papyri of Euripides, Sophocles and Aristophanes. The purpose of the thesis is to examine a selection of papyri from the large corpus of Euripides, Sophocles and Aristophanes. The study of the texts has been divided into three major chapters where each one of the selected papyri is first reproduced and then discussed. The transcription follows the original publication whereas any possible textual improvement is included in the commentary. The commentary also contains a general description of the papyrus (date, layout and content) as well reference to special characteristics. The structure of the commentary is not identical for marginalia and hy-pomnemata: the former are examined in relation to their position round the main text and are treated both as individual notes and as a group conveying the annotator's aims. The latter are examined lemma by lemma with more emphasis upon their origins and later appearances in scholia and lexica. After the study of the papyri follows an essay which summarizes the results and tries to incorporate them into the wider context of the history of the text of each author and the scholarly attention that this received by the Alexandrian scholars or later grammarians. The main effort is to place each papyrus into one of the various stages that scholarly exegesis passed especially in late antiquity. Special treatment has been given to P.Wurzburg 1, the importance of which made it necessary that it occupies a chapter by itself.
    [Show full text]
  • Ippolito E Aricia
    Tommaso Traetta Ippolito e Aricia Tragedia per musica in cinque atti Libretto di Carlo Innocenzo Frugoni dal libretto di Simon-Joseph de Pellegrin per Hippolyte et Aricie di Rameau PERSONAGGI Ippollito Soprano Aricia Soprano Fedra Soprano Teseo Tenore Enone Soprano Diana Soprano Plutone Basso Mercurio Soprano Tisifone Soprano Gran Sacerdotessa Soprano Una marinaja Soprano Una cacciatrice Soprano Sacerdotesse, demoni, marinai, cacciatori, pastori. Prima esecuzione: Parma, Teatro Ducale 9 maggio 1759 Traetta: Ippolito e Aricia - atto primo ATTO PRIMO Tempio magnifico di Diana Scena I° A tutti il suo partir. Diversa or vola Fama di lui. V’è chi lo vuol nell’onde Aricia Del Mare absorto, mentre sposo infido ARICIA Rapisce altra beltà; V’è chi lo crede Di tranquilla pace amabil Sede, Con Piritoo disceso a i Regni ignoti Ascolta, o sacro Tempio, i voti miei, Alla luce del giorno, Tempio dell’alma Dea, che di mia fede Senza che possa a noi sperar ritorno. Al giuramento eterno eletto sei. Ma, s’egli qui presente Ah! Se le pene mie pietoso miri, Lo prescrivesse ancor, perché confondi Fa, che da un dolce sventurato amore Col padre il Figlio? Io, Principessa, odiarti? L’agitato mio cor’ in te respiri; Io, che sento per te viva nel core E tu de’ miei sospiri Una pietà, che rassomiglia amore? Cara, e fatal cagion, Prence adorato, Se alla Dea, che tu siegui, io pur mi dono, ARICIA Deh! mel perdona, oh Dio! Che di perdono Intesi? O m’ingannai? Dunque quel fiero, È troppo degno un sacrificio ingrato. Quell’Ippolito altier, solo di selve, Se tutta impressa ancor nel cor mi sede Sol d’agili destrier rigido amante, La bella Immago tua, lo san gli Dei.
    [Show full text]
  • Surviving Antigone: Anouilh, Adaptation, and the Archive
    SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year.
    [Show full text]
  • Breathtaking Tragedy at Noche Flamenca by Kalila Kingsford Smith
    Photo: Chris Bennion Breathtaking Tragedy at Noche Flamenca by Kalila Kingsford Smith Antigona is full of breathtaking, powerful moments. A collaboration between Soledad Barrio & Noche Flamenca and theater director Lee Breuer, the production is based on Sophocles’ heroine Antigone, who is sentenced to be buried alive in a cave after fulfilling the sacred duty of burying her brother, who died a rebel. The story is told equally through the music, the song, and the dance, as is traditional in the flamenco form. In this interpretation of the Greek tragedy, the chorus wears masks, obscuring the performers’ identities and yet intensifying the expression of each emotion. As in an opera, translations are projected onto a scrim upstage to help convey the narrative to those who don’t understand Spanish. However, I hardly glance at them; my eyes never stray from the dancers, and I understand without reading the text the raw emotion within la canción. Our first vision of this Spanish/Greek universe is black silk pouring down towards the stage, silk held in place by a man standing on a tall platform obscured by the darkness. He ripples the fabric in time with the strumming of the guitar, catching the light like glimmers on a river. Slowly we see shapes pressing into the silk, the crouched bodies of the chorus emerging from the darkness one arm at a time. Then we see the masks—blindingly white against the black river—demons that crawl, reach, and writhe in a clump of faces. Typically, one wouldn’t see movement so close to the ground in a flamenco production, but I am enthralled by the eeriness of this image.
    [Show full text]
  • Rameau Et L'opéra Comique
    2020 HIPPOLYTE ET ARICIE HIPPOLYTE ET ARICIEJEAN-PHILIPPE RAMEAU 11, 14, 15, 18, 21, 22 NOVEMBRE 2020 1 Soutenu par Soutenu par AVEC L'AIMABLE AVEC LE SOUTIEN DE PARTENARIAT MÉDIA Madame Aline Foriel-Destezet, PARTICIPATION DE Grande Donatrice de l’Opéra Comique Spectacle capté les 15 et 18 novembre et diffusé ultérieurement. 2 HIPPOLYTETragédie lyrique en cinq actes de Jean-Philippe ET ARICIE Rameau. Livret de l’abbéer Pellegrin Créée à l’Académie royale de musique (Opéra) le 1 octobre 1733. Version de 1757 (sans prologue) avec restauration d’éléments des versions antérieures (1733 et 1742). Raphaël Pichon Direction musicale - Jeanne Candel Mise en scène -Lionel Gonzalez Dramaturgie et direction d’acteurs - Lisa Navarro DécorsPauline - Kieffer Costumes -César Godefroy Lumières - Yannick Bosc Collaboration aux mouvements - Ronan Khalil * Chef de chant - Valérie Nègre Assistante mise en scène -Margaux Nessi Assistante décorsNathalie - Saulnier Assistante costumes - Reinoud van Mechelen Hippolyte - Elsa Benoit SylvieAricie Brunet-Grupposo - Phèdre - Stéphane Degout Opéra Comique Thésée - Nahuel Di Pierro Production Opéra Royal – Château de Versailles Spectacles Neptune, Pluton -Eugénie Lefebvre Coproduction Diane - Lea Desandre Prêtresse de Diane, Chasseresse, Matelote, BergèreSéraphine - Cotrez © Édition Nicolas Sceaux 2007-2020 Œnone - Edwin Fardini Pygmalion. Tous droits réservés Constantin Goubet* re Tisiphone - Martial Pauliat* e 1 Parque - 3h entracte compris Virgile Ancely * 2 Parque,e Arcas - Durée estimée : 3 ParqueGuillaume - Gutierrez* Mercure - * MembresYves-Noël de Pygmalion Genod Iliana Belkhadra Introduction au spectacle Chantez Hippolyte Prologue - Leena Zinsou Bode-Smith (11, 15, 18 et 22 novembre) / et Aricie et Maîtrise Populaire de(14 l’Opéra et 21 novembre) Comique sont temporairement suspendues en raison de la des conditions sanitaires.
    [Show full text]
  • Quaderni Musicali Marchigiani 14
    Quaderni Musicali Marchigiani 14 a cura di Concetta Assenza Pubblicazione dell’A.Ri.M. – Associazione Marchigiana per la Ricerca e Valorizzazione delle Fonti Musicali QUADERNI MUSICALI MARCHIGIANI 14/2016 a cura di Concetta Assenza ASSOCIAZIONE MARCHIGIANA PER LA RICERCA E VALORIZZAZIONE DELLE FONTI MUSICALI (A.Ri.M. – onlus) via P. Bonopera, 55 – 60019 Senigallia www.arimonlus.it [email protected] QUADERNI MUSICALI MARCHIGIANI Volume 14 Comitato di redazione Concetta Assenza, Graziano Ballerini, Lucia Fava, Riccardo Graciotti, Gabriele Moroni Realizzazione grafica: Filippo Pantaleoni ISSN 2421-5732 ASSOCIAZIONE MARCHIGIANA PER LA RICERCA E VALORIZZAZIONE DELLE FONTI MUSICALI (A.Ri.M. – onlus) QUADERNI MUSICALI MARCHIGIANI Volume 14 a cura di Concetta Assenza In copertina: Particolare dell’affresco di Lorenzo D’Alessandro,Madonna orante col Bambino e angeli musicanti, 1483. Sarnano (MC), Chiesa di Santa Maria di Piazza. La redazione del volume è stata chiusa il 30 giugno 2016 Copyright ©2016 by A.Ri.M. – onlus Diritti di traduzione, riproduzione e adattamento totale o parziale e con qualsiasi mezzo, riservati per tutti i Paesi. «Quaderni Musicali Marchigiani» – nota Lo sviluppo dell’editoria digitale, il crescente numero delle riviste online, l’allargamento del pubblico collegato a internet, la potenziale visibilità globale e non da ultimo l’abbattimento dei costi hanno spinto anche i «Quaderni Musicali Marchigiani» a trasformarsi in rivista online. Le direttrici che guidano la Rivista rimangono sostanzialmente le stesse: particolare attenzione alle fonti musicali presenti in Regione o collegabili alle Marche, rifiuto del campanilismo e ricerca delle connessioni tra storia locale e dimensione nazionale ed extra-nazionale, apertura verso le nuove tendenze di ricerca, impostazione scientifica dei lavori.
    [Show full text]
  • Antigone's Line
    Bulletin de la Société Américaine de Philosophie de Langue Française Volume 14, Number 2, Fall 2005 Antigone’s Line Mary Beth Mader “Leader: What is your lineage, stranger? Tell us—who was your father? Oedipus: God help me! Dear girl, what must I suffer now? Antigone: Say it. You’re driven right to the edge.”1 Sophocles’ Antigone has solicited many superlatives. Hölderlin considered the play to be the most difficult, the most enigmatic and the most essentially Greek of plays. This paper treats a matter of enigma in the play, one that is crucial to understanding the central stakes of the drama. Its main purpose is to propose a novel account of this enigma and briefly to contrast this account with two other readings of the play. One passage in particular has prompted the view that the play is extremely enigmatic; it is a passage that has been read with astonishment by many commentators and taken to demand explanation. This is Antigone’s defense speech at lines 905-914. Here, she famously provides what appear to her to be reasons for her burying her brother Polynices against the explicit command of her king and uncle, Creon. Her claim is that she would not have deliberately violated Creon’s command, would not have ANTIGONE’S LINE intentionally broken his law or edict, had this edict barred her from burying a child or a husband of hers. She states that if her husband or child had died “there might have been another.” But since both her mother and father are dead, she reasons, “no brother could ever spring to light again.”2 Reasoning of this sort has a precedent in a tale found in Herodotus’ Histories, and Aristotle cites it in Rhetoric as an example of giving an explanation for something that one’s auditors may at first find incredible.3 To Aristotle, then, Antigone’s defense speech appears to have been “rhetorically satisfactory,” as Bernard Knox says.4 However, such a reception is rare among commentators.5 1.
    [Show full text]
  • Antigone Introductory Lecture Notes Greek Drama and the Elements of Tragedy
    Antigone Introductory Lecture Notes Greek Drama and the Elements of Tragedy Understanding Greek Theatre I. The Festival of Dionysus Dionysus - Festival of Dionysus - II. Conventions of Greek Drama Actors - Chorus - o Functions Costuming Scenery and Action Composition and Structure o Composition . o Structure . Prologue - . Parados - III. Tragedy Tragedy: Aristotle o Aristotle’s Unity of Time, Place, and Action . Time: . Place: . Action: o Action of the play arouses extreme pity and fear in the audience – pity for the protagonist and a sympathetic fear. (Tragedy cont.) o Purpose of tragedy: o Catharsis - Tragic Hero o Hamartia: o Paripateia: The Fall Revelation IV. Sophocles and the Oedipus Myth Sophocles Notes on Greek Burial Traditions: The Oedipus Myth o King Laius rules Thebes with his queen, Jocasta. An oracle prophesies that his son will grow to kill him, so Laius pierces his infant son’s ankles and feet and orders Jocasta to kill him. She cannot, so she sends a servant to do it, who leaves him for dead in the mountains. o The infant is found by a servant of the King of Corinth and is then raised by the King and Queen of Corinth, who name him Oedipus (meaning “swollen foot”). o When Oedipus is a young man, an oracle tells him that he will kill his father and marry his mother so, to try to escape his fate, he flees Corinth. Along the road, he gets into an argument with a stranger and kills him. That stranger is Laius. Part 1 of the prophecy is fulfilled. o Oedipus reaches Thebes, where a sphinx is plaguing the city, but will stop if someone answers a riddle.
    [Show full text]
  • In the Realm of Politics, Nonsense, and the Absurd: the Myth of Antigone in West and South Slavic Drama in the Mid-Twentieth Century
    DOI: https://doi.org/10.4312/keria.20.3.95-108 Alenka Jensterle-Doležal In the Realm of Politics, Nonsense, and the Absurd: The Myth of Antigone in West and South Slavic Drama in the Mid-Twentieth Century Throughout history humans have always felt the need to create myths and legends to explain and interpret human existence. One of the classical mythi- cal figures is ancient Antigone in her torment over whether to obey human or divine law. This myth is one of the most influential myths in European literary history. In the creation of literature based on this myth there have always been different methods and styles of interpretation. Literary scholars always emphasised its philosophical and anthropological dimensions.1 The first variants of the myth of Antigone are of ancient origin: the playAntigone by Sophocles (written around 441 BC) was a model for others throughout cultural and literary history.2 There are various approaches to the play, but the well-established central theme deals with one question: the heroine Antigone is deeply convinced that she has the right to reject society’s infringement on her freedom and to act, to recognise her familial duty, and not to leave her brother’s body unburied on the battlefield. She has a personal obligation: she must bury her brother Polyneikes against the law of Creon, who represents the state. In Sophocles’ play it is Antigone’s stubbornness transmitted into action 1 Cf. also: Simone Fraisse, Le mythe d’Antigone (Paris: A. Colin, 1974); Cesare Molinari, Storia di Antigone da Sofocle al Living theatre: un mito nel teatro occidentale (Bari: De Donato, 1977); George Steiner, Antigones (Oxford: Clarendon Press, 1984); Elisabeth Frenzel, Stoffe der Weltlitera- tur: Ein Lexikon Dichtungsgeschichtlicher Längsschnitte, 5.
    [Show full text]
  • Carlo Goldoni As Musical Reformer
    CARLO GOLDONI AS MUSICAL REFORMER IN SEARCH OF REALISM IN THE DRAMMA GIOCOSO La vraisemblance doit toujours être la principale règle, et sans laquelle toutes les autres deviennent déréglées. -l’Abbé d’Aubignac, La Pratique du Théâtre by Pervinca Rista Dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy. Baltimore, Maryland March 18, 2015 © Pervinca Rista All Rights Reserved Abstract Venetian playwright Carlo Goldoni (1707-1793), who is best remembered in literary history for his realist ‘reform’ of comic theatre, was also a prolific librettist. In particular, his texts for music written from 1748 onwards remain understudied but warrant significant reappraisal, for Goldoni was one of the first to give shape to the dramma giocoso, an innovative and realistic new genre of opera that went on to have a lasting legacy all the way to W. A. Mozart and Lorenzo da Ponte. Through an interdisciplinary, historical approach and intertextual analysis, the present study reevaluates Goldoni’s drammi giocosi, largely overlooked by scholarship, to uncover the lasting innovations in form and content introduced by the Venetian playwright. Analysis of these texts also reveals clear affinity between Goldoni's contributions to the dramma giocoso and his reform of prose theatre. Most importantly, unlike other types of comic opera, the dramma giocoso has the particularity of combining buffo with serio, a dynamic that, through Goldoni's mature output, continually evolves to bring new realism and social relevance to opera theatre. Goldoni’s influence on this type of musical representation has not been fully considered, but the realism in music that he achieves through the dramma giocoso must be acknowledged as a lasting contribution to modern literature, and to operatic history.
    [Show full text]
  • MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A.
    [Show full text]
  • Les Talens Lyriques Announces 20-21 Season with First Modern Performances of Salieri’S Armida
    Les Talens Lyriques announces 20-21 season with first modern performances of Salieri’s Armida 31 December 2020, 28 February, 3 April 2021 London: Wigmore Hall concerts 16 January, 19 February 2021 Vienna: Festival Resonanzen & Theater an der Wien 10-13 May 2021 Paris: St. John Passion staged with Calixto Bieito 11-12 June 2021 Würzburg: Mozartfest Centenary with Idomeneo Also touring to: Dortmund, Heidelberg, Linz, Innsbruck, Ferrara, Bologna, Genoa, Bilbao, Brussels, Liège, Caen, Rouen, Qatar Christophe Rousset and Les Talens Lyriques announce their 2020-21 season championing heroines, with the first modern performances of Salieri’s breakthrough success Armida, 250 years after the work’s premiere. A recording of Armida to be made during the season is complemented by the release of Mozart’s Betulia liberata on Aparté this autumn. In June 2021, Les Talens Lyriques join the centennial Mozartfest Würzburg with performances of Idomeneo. Rousset and Les Talens Lyriques express their love of the French Baroque, pairing ballets by Lully and Pascal Collasse to tell of the birth and life of Venus. On tour in Europe, Les Talens Lyriques make multiple visits to Germany and Austria, and give three concerts at London’s Wigmore Hall in Spring 2021. At home in Paris, Les Talens Lyriques are joined by Calixto Bieito for a staged production of Bach’s St. John Passion at the Théâtre du Châtelet. Further recordings from the ensemble include a DVD of Stefano Landi’s La Morte d’Orfeo from the Dutch National Opera’s 2018 production, and a solo disc of Armand-Louis Couperin’s harpsichord works from Christophe Rousset.
    [Show full text]