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,17(51$7,21$/5(6($5&+&21)(5(1&(_1RYHPEHU_6$/=%85* 7LPHVIRU&KDQJH7UDQVQDWLRQDO0LJUDWLRQVDQG &XOWXUDO&URVVLQJVLQ1LQHWHHQWK&HQWXU\'DQFH 3URJUDPPH International Research Conference Times for Change Transnational Migrations and Cultural Crossings in Nineteenth-Century Dance Salzburg, 28-30 November 2019 Nineteenth-century dance built upon a dense network of transcultural and intercultural relationships among European centers, as well as the exchange of professionals in the theatrical world that created a tangible »ballet industry«. The conventional history of dance often focuses on the historical identity of an institution’s past without adopting the multifocal perspective that, to the contrary, constituted the lifeblood of past dance practices. From this situation we see the importance of the study of artistic networks and choreographic practices Venue and Contact of the nineteenth century against the backdrop of diverse political systems and socio-cultural contexts. For this reason it is crucial for dance studies to adopt a University of Salzburg transcultural approach that focuses on dialogue and reciprocal influences, which Department of Musicology and Dance Studies various cultures exerted on artists and groups of workers, whose agency shaped Tanzstudio, Room 2.105, 2nd Floor dance and music. Inviting meticulous analytical and transdisciplinary approaches, this conference Unipark Nonntal focuses both on the phenomenon of mobility among artists of nineteenth-century Erzabt-Klotz-Straße 1 European music and dance theatre, and on the social and political aspects that A-5020 Salzburg influenced artistic and cultural developments. It aims to challenge recurring ideas of dance historiography, highlight paths and developments of dance practices in diverse contexts, and initiate transdisciplinary and international exchanges among Information scholars, thus generating synergies for new research and promoting dialogue for http://timesforchange.sbg.ac.at new perspectives. [email protected] Edited by Julia Lipold, Matthew Werley and Anna-Lena Wieser. Designed by Hermann Kunstmann, Printcenter Universität Salzburg. Image source: Universität Salzburg, Derra de Moroda Dance Archives, DdM 6925 23 3 Conference Committee and Organizers Schedule and Panel Overview A Cooperation of Thursday, 28 November 2019 AIRDanza (Associazione Italiana per la Ricerca sulla Danza) Introduction aCD (association des Chercheurs en Danse) Department of Musicology and Dance Studies, University of Salzburg (Abteilung 14:00–14:15 Nicole Haitzinger, Francesca Falcone, and Bruno Ligore: Musik- und Tanzwissenschaft, Universität Salzburg) Welcoming 14:15–14:30 Irene Brandenburg: Introduction Selection Committee Roberta Albano (Independent Scholar) Panel I: Transnational Identities and Biographies Irene Brandenburg (Universität Salzburg) Chair: Ingeborg Zechner Francesca Falcone (President of AIRDanza, Rome) 14:30–15:00 Madison U. Sowell: From Italian Opera Houses to English Music- Nicole Haitzinger (Universität Salzburg) Halls: How Prima Ballerina Giovannina Pitteri Became Variety Bénédicte Jarrasse (aCD, Labex Obvil Université Paris-Sorbonne) Ballet Performer Jeanne Pitteri Paologiovanni Maione (Conservatorio San Pietro a Majella, Naples) 15:00–15:30 Elena Cervellati: Sofia Fuoco, »simpatica danzatrice«: Cultural Bruno Ligore (École Doctorale SHAL, Université Côte d’Azur, Nice) Identities of a Nineteenth-Century Celebrity Maria Venuso (Istituto Suor Orsola Benincasa, Naples) 15:30–16:00 Tatiana Nikitina: Austrian Dancers Fanny Elssler and Gabriela Yella: Traveling Career and Stardom Factory in St. Petersburg Organizing Committee 16:00–16:30 Discussion Irene Brandenburg 16:30–17:00 Coffee Break Francesca Falcone Bruno Ligore Chair: Nicole Haitzinger Anna-Lena Wieser 17:00–17:30 Valentina Bonelli: Pierina Legnani, the Queen of the Alhambra Theatre Thanks to our sponsors! 17:30–18:00 David Popalisky: Philippe Taglioni: Ballet Father Finesses Family Land Salzburg Fortunes Stadt Salzburg 18:00–18:30 Jean-Philippe Van Aelbrouck: A Dynasty of Actors and Dancers: AIRDanza the Hus Family. On the Tracks of Augusto and Pietro, Ballet aCD Masters in Turin, Naples and Milan Universität Salzburg 18:30–19:00 Discussion Freunde der Derra de Moroda Dance Archives und der Tanzwissenschaft/Salzburg 4 5 Friday, 29 November 2019 Chair: Claudia Jeschke 16:30–17:00 Johanna Hilari: Industrial Ballets: Modes of Circulation of the Panel II: Artistic Networks and Circulation Ballets Excelsior and Columbia Chair: Francesca Falcone 17:00–17:30 Anja K. Arend: Europe – One and Many: The United States as a 9:00–9:30 Gunhild Oberzaucher-Schüller: Multi-Layered Shifting Processes European Branch 9:30–10:00 Stefania Onesti: French or Italian Identity? Between Italy and 17:30–18:00 Debra H. Sowell: Crossing Boundaries in Time and Space: Vienna: Antonio Muzzarelli Insights from the Sowell Italian Libretto Database 10:00–10:30 Discussion 18:00–18:30 Discussion 10:30–11:00 Coffee Break 11:00–11:30 Annamaria Corea: The »Beyond Borders« Experimentation of Saturday, 30 November 2019 Louis Henry Panel III: Techniques and Dance Styles 11:30–12:00 Roberta Albano / Maria Venuso: Louis Duport and Domenico Barbaja: the Relationship between Art and Management and Chair: Matthew Werley the »Case« of La virtù premiata 9:00–9:30 Ornella Di Tondo: The Dances of Nations: Choix de danses 12:00–12:30 Discussion caractéristiques de diverses nations de l'Europe avec les danses 12:30–14:00 Lunch Break exécutées à l'occasion du séjour des hautes-puissances à Vienne pendant les années 1814 et 1815 pour le piano forte (Vienna, Chair: Bénédicte Jarrasse 1816) and the Construction of the New »Europe dansante« 14:00–14:30 Theresa Jill Buckland: Competition and Cachet: Crossing Stage, 9:30–10:00 Bruno Ligore: Violin Conductor’s Scores and Pantomimic Salon and Continent in Early Victorian Dance Culture in Britain Encoding in the First Half of the Nineteenth Century: Some 14:30–15:00 Stephanie Schroedter: Crossing Borders through Nineteenth- Methodological Approaches Century Music and Dance Cultures: Paris as a Model for 10:00–10:30 Geraldine Morris: A Journey through Ballet’s Nineteenth- Transcultural Practices Century Technical Styles: How the Century’s Aesthetic Culture 15:00–15:30 Olivia Sabee: Italian, Austrian, and Portuguese Influences on Created a New Way of Dancing the Paris Opéra’s 1860 Règlement pour le service du Corps des 10:30–11:00 Discussion Ballets 11:00–11:30 Coffee Break 15:30–16:00 Discussion 16:00–16:30 Coffee Break Chairs: Anna-Lena Wieser and Irene Brandenburg 11:30–12:30 Francesca Falcone / Claudia Jeschke: Henri Justamant’s »Pas des manteaux« (1854): Dealing with a Choreographic Topic of (Trans)National Relevance 12:30–13:30 Discussion and conclusion 6 7 Abstracts and Biographies Elena Cervellati Sofia Fuoco, »simpatica danzatrice«: Cultural Identities of a Nineteenth-Century Madison U. Sowell Celebrity From Italian Opera Houses to English Music-Halls: How Prima Ballerina Giovannina Sofia Fuoco was an Italian dancer trained by Carlo Blasis at the Teatro alla Scala. Pitteri Became Variety Ballet Performer Jeanne Pitteri She became a celebrated ballerina in Giuseppe Verdi’s operas, both in Milan and My presentation proposes a transnational biography of a largely forgotten, highly Paris (where she made her debut in 1846), as well as in full-length ballets created itinerant, nineteenth-century dancer whose fame spread as she performed across for herself. After Paris, she danced in London and Madrid, but also in dozens of Europe until, upon arriving in England in 1869, she was hailed as »the successor less important cities, until her retirement from the scene in the late fifties. She to [Marie] Taglioni«. Born in Venice in 1841, Giovanna Pitteri was as a young popularized the sunny spirit of the so-called »Italian style« in Europe. In addition dancer listed on programmes by the diminutive form »Giovannina Pitteri«, a to the mostly positive comments by the press, which praised her amiability, nickname she carried with her after leaving Italy for Portugal. Later she travelled vivacity and warmth, and to the florilegium of praising compositions (quite usual to France and Spain, where initially she performed on premier opera house for dancing celebrities), some biographical writings were also published that stages. In England she was occasionally known by a French form of her name, depict a ballerina with technical skills, temperament and beauty, but also a good- »Jeanne Pitteri«, or, more often in music-hall settings, as »Mademoiselle Pitteri«. hearted woman. Through the privileged lens of Sofia Fuoco’s »small history«, this At New York’s Niblo’s Garden she was billed as »Mlle Pitteri«. Because of her lecture not only focuses on the critical and biographical multicultural discourses transnational career, it may appear that there existed more than one dancer of the time, but also investigates the modes of construction of the artistic identity named Giovanna Pitteri; however, Giovanna, Giovannina, Jeanne, and Mlle Pitteri of a dancer declared as typically Italian and traces strategies of the self- were one and the same »Pitteri, the graceful and world-renowned danseuse«. My construction. critical and iconographic approach provides a case study for how an Italian Elena Cervellati is Associate Professor at the Università di Bologna, where she ballerina, trained by Auguste Hus, could emigrate from Italy, where she teaches Dance History as well as Theories and Poetics of Dance. She directs the performed
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