The Viennese Theatre, 1740-1790 Author Index
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French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 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]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH 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 School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print. -
Corporeal Expression and the Paradox of Acting in the German Theater Discourse Around 1800
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository STAGING SPONTANEITY: CORPOREAL EXPRESSION AND THE PARADOX OF ACTING IN THE GERMAN THEATER DISCOURSE AROUND 1800 Matthew West Feminella A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department Germanic and Slavic Languages and Literatures (German). Chapel Hill 2016 Approved by: Clayton Koelb Eric Downing Jonathan Hess Gabriel Trop Inga Pollmann © 2016 Matthew West Feminella ALL RIGHTS RESERVED ii ABSTRACT MATTHEW WEST FEMINELLA: Staging Spontaneity: Corporeal Expression and the Paradox of Acting in the German Theater Discourse Around 1800 (Under the direction of Clayton Koelb) This dissertation explores how theories of spontaneity and the body are integrated into acting discourses on the German stage. I argue that the spontaneity of the human body represents a recurring feature in the acting discourses around 1800, which provoked a variety of responses from theorists of the theaters. These responses range from theorizing how to utilize corporeal spontaneity for the benefit of the theater to how to diminish its potential inimical effects on dramatic production. Theorizing about actors and spontaneity led these thinkers to re-conceptualize their notions of anthropology, semiotics, media, and human agency. Chapter 1 examines how Gotthold Ephraim Lessing in his correspondences and dramaturgical writings develops acting techniques that seek to reconcile intentionality and spontaneity: actors create mental images of bodies through poetic language that in turn are integrated into their own affective and bodily motions, thus artificially producing the impression of spontaneous natural action on stage. -
PDF: Zeittafel
LEBEN UND WERK E.T.A. HOFFMANNS IN CHRONOLOGISCHER ÜBERSICHT 1776 24. Januar: Hoffmann in Königsberg i. Pr. als Sohn des Hofgerichts-Advokaten Christoph Ludwig H. und dessen Gattin Louise Albertine, geb. Doerffer, geboren. 2. Februar: Taufe in der evangelisch-lutherischen Kirche zu Königsberg auf die Namen Ernst Theodor Wilhelm. – Paten sind die Geschwister der Mutter, Johann Ludwig Doerffer (Rat bei der Oberamtsregierung in Glogau) und Johanna Sophie Doerffer, der Kriminalrat Johann Theodor (?) Olschewius, der Universitätsprofessor Jacob Friedrich Werner (Vater des Dichters Zacharias Werner) und die Hofrätin Heddaeus. 1778 Trennung der Eltern. Während H.s Bruder, der 1768 geborene Johann Ludwig, beim Vater bleibt, zieht die Mutter mit Ernst in das Haus ihrer verwitweten Mutter Louise Sophie Doerffer, geb. Voeteri († 1801, wo auch ihre unverheirateten Geschwister, der pensionierte Justizrat Otto Wilhelm Doerffer, Johanna Sophie Doerffer und Charlotte Wilhelmine Doerffer, wohnen. 1779 24. Mai: Tod der Tante Charlotte Wilhelmine. 1781 oder 1782 H. besucht die reformierte Burgschule in Königsberg (bis 1792). 1782 H.s Vater wird als Justizkommissar (Rechtsanwalt) und Kriminalrat nach Insterburg versetzt; er nimmt seinen ältesten Sohn Johann Ludwig mit dorthin. 1786 Sommer: Beginn der Freundschaft mit Theodor Gottlieb von Hippel (geb. 1775), der ab 1787 die gleiche Schule besucht. 1787ff. Erster Musikunterricht durch den Onkel Otto Wilhelm Doerffer (Klavier), Otto Christian Gladau (Violine) und wahrscheinlich durch den Musiklehrer und Organisten Carl Gottlieb Richter. Etwa 1790/91 Unterricht in Generalbass und Kontrapunkt bei dem Domorganisten Christian Wilhelm Podbielski; im Zeichnen bei dem Maler Johann Christian Saemann. 1792 27. März: H. wird als stud. jur. an der Königsberger Universität immatrikuliert; er besucht nur die notwendigen Vorlesungen. -
Woodgll2018onformandfeeling
Edinburgh Research Explorer On form and feeling Citation for published version: Wood, M 2018, 'On form and feeling: German drama and the young Walter Scott', German Life and Letters, vol. 71, no. 4, pp. 395-414. https://doi.org/10.1111/glal.12205 Digital Object Identifier (DOI): 10.1111/glal.12205 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: German Life and Letters Publisher Rights Statement: This is the peer reviewed version of the following article: Wood, M. (2018), ON FORM AND FEELING: GERMAN DRAMA AND THE YOUNG WALTER SCOTT. German Life and Letters, 71: 395-414 which has been published in final form at: https://doi.org/10.1111/glal.12205 This article may be used for non- commercial purposes in accordance with Wiley Terms and Conditions for Self-Archiving. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 25. Sep. 2021 ON FORM AND FEELING: GERMAN DRAMA AND THE YOUNG WALTER SCOTT MICHAEL WOOD (UNIVERSITY OF EDINBURGH) This article provides a reassessment of Walter Scott’s period of reading and translating German drama in 1796-98. -
Bestandsliste Der Hoftheaterakten X 101 (Inspizientenakten Und -Ausweise) Bestand Des Österreichischen Theatermuseums
Bestandsliste der Hoftheaterakten X 101 (Inspizientenakten und -ausweise) Bestand des Österreichischen Theatermuseums Diese Bestandsliste wurde im Rahmen eines Forschungsseminars des Instituts für Theater-, Film- und Medienwissenschaft (Sommersemester 2012) unter der Leitung von Stefan Hulfeld und Julia Danielczyk mit den Studierenden Regine Friedrich, Alexia Kathmann, Hanna Neuser und Pia Wiesauer erarbeitet. Die vormals getrennt aufbewahrten Inspizientenakten und -ausweise unter der Signatur X 101 wurden im Rahmen dieses Seminars geordnet und, sofern zu einer Produktion mehrere Dokumente vorhanden waren, in einer mit dem Produktionstitel beschrifteten Mappe abgelegt. Die Grunddaten zu den Aufführungen sowie die alphabetische Einordnung orientieren sich an Minna von Alth: Burgtheater 1776–1976. 2 Bde. Wien 1976. A (Archivbox A–B) .................................... 2 B (Archivbox A–B) .................................... 9 C (Archivbox C–D) .................................. 14 D (Archivbox C–D) .................................. 17 E (Archivbox E–F) ................................... 23 F (Archivbox E–F) ................................... 30 G (Archivbox G) ...................................... 38 H (Archivbox H–J) ................................... 50 I (Archivbox H–J) .................................... 56 J (Archivbox H–J) .................................... 60 K (Archivbox K) ...................................... 64 L (Archivbox L) ....................................... 72 M (Archivbox M–N) ............................... -
Finnish Actress. Ida Aalberg Was Pivotal in Creating the first Expressive Style of the Finnish- Speaking Theatre
Cambridge University Press 978-0-521-76954-9 - The Cambridge Encyclopedia of Stage Actors and Acting Edited by Simon Williams Excerpt More information A Aalberg, Ida (b. Janakkala, Finland, 4 December 1857; d. St Petersburg, 17 January 1915). Finnish actress. Ida Aalberg was pivotal in creating the first expressive style of the Finnish- speaking theatre. She joined the Finnish Theatre in 1874 and was a leading actress before she was thirty, playing Nora (1880), Ophelia (1884), Homsantuu in Työmiehen vaimo (The Worker’s Wife) (1884), and Margarete in Faust (1885). Her dignified interpretation of the title role in The Maid of Orleans by Schiller (1887) helped elevate her to a national icon, reinforced by her marriage to nationalist politician Lauri Kivekäs in 1887. She worked permanently with the Finnish Theatre until 1889 and then guest-starred regu- larly and continued in leading roles. She was the first actress to play Hedda Gabler to critical acclaim (1891) and as Cyprienne in Let’sGetaDivorceshe displayed her comic prowess. Aalberg was always ambitious for an international career. In 1885–94, she was seen in Stockholm, Christiania, Bergen, Berlin, and St Petersburg, and, in 1907, in Hungary. She had a contract with the Dagmar Theatre Company in Copenhagen (1885–7)andtouredwithHaraldMolander’s company in 1894. The Finnish National Theatre invited Aalberg to join its Board and to direct (1908), but her contract was terminated after two years for artistic reasons. There were plans for her return to the National Theatre, but she died in 1915. Aalberg’s acting combined analytic thinking with emotional intensity. -
The Historical and Pedagogical Significance of Excerpts By
THE HISTORICAL AND PEDAGOGICAL SIGNIFICANCE OF EXCERPTS BY ANDRÉ-ERNEST-MODESTE GRÉTRY (1741–1813) Jennifer Marie Youngs, B.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2019 APPROVED: Carol Wilson, Major Professor Rebecca Geoffroy-Schwinden, Committee Member Jeffrey Snider, Committee Member Molly Fillmore, Chair of the Division of Vocal Studies Felix Olschofka, Interim Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Youngs, Jennifer Marie. The Historical and Pedagogical Significance of Excerpts by André-Ernest-Modeste Grétry (1741–1813). Doctor of Musical Arts (Performance), May 2019, 84 pp., 9 figures, bibliography, 50 titles. This collection of 9 vocal works, taken from the oœuvre of André-Ernest-Modeste Grétry (1741–1813), was chosen for their utility in teaching undergrad voice majors. This collection offers a group of songs that are attractive in their simplicity allowing the time in their lessons to be devoted to the instruction of French pronunciation. Grétry’s attention to detail in the setting of French prosody provides undergraduate singers with a collection of songs that offer an immediate understanding as to the nuances of the French language. With funding from an I-GRO grant through the University of North Texas, research was conducted in the archives of the Bibliothèque nationale de France, and work continued in the Grétry Museum in Liège, Belgium. The primary sources found within these locations formulated valuable insights into to the life and influence of Grétry, and provided first-hand experience with research techniques within foreign libraries. -
Eighteenth-Century Theatre
-,,,,-«- o~~ J:-\\u~\--ca...~~ \.\'b~v,\ o~ ~~¥~. £,c).. ~V\ ~~t'\' ~yo~"'. \~o....5.. f'.J€'-'.J '\0'<'<- '. a~~v-cJ l.)~\--.)Q.~' \-", ?-C-,,~) z..oO\. ~8~ EIGHTEENTH-CENTURY THEATRE ~~ PETER HOLLAN'D AND MICHAEL PATTERSON AT first sight the eighteenth century appears to be the least interesting and signi- ficant period of theatre history" since the Middle Ages, Some histories of theatre virtually omit it, while others treat it as some sort of connecting corridor from the splendours of the Renaissance to the innovations of the nineteenth century, essen- tial but not worth lingering in. Indeed the eighteenth century produced few great dramatists; several comic talents perhaps: Sheridan and Goldsmith, Marivaux and Beaumarchais, Goldoni and Gozzi, Holberg and Lessing. But an anthology of world drama could legiti- mately be published without including the works of any of these. Only in the emergent theatre of late eighteenth-century Germany can one point to the major dramas of Goethe and Schiller. Nor could the eighteenth century boast of import- ant innovations in theatre technology, except towards the end of the century with the replacement of candle-light by oil-lamps. What was significant about the theatre of the eighteenth century, however, is that it developed in Continental Europe a function in society unparalleled since its role in ancient Greece. From being an entertainment at court or in the market- place it became a political forum for the bourgeoisie, a focus for national identity and even revolution. It moved from being formal and stylized, or from being vulgar and coarse, to a new level of realism; the stage began to search for authen- ticity and newly to mirror the everyday lives of the spectators. -
Le Magnifique
André-Ernest-Modeste GRÉTRY (1741-1813) Le Magnifique Gonzalez Toro Calleo • Krull Thompson • Sulayman Williams • Scarlata Opera Lafayette Orchestra Ryan Brown 1 Ouverture 5:45 André-Ernest-Modeste GRÉTRY Act I 24:13 (1741-1813) 2 Scène 1: Marche: Andante 1:53 Le Magnifique (1773) 3 Tempo giusto 0:42 4 Marche 0:37 Libretto by Jean-Michel Sedaine (1719-1797) 5 Duo: Cʼest lui (Alix, Clémentine) 2:42 Dedicated to the Duc dʼAlbe 6 Scène 2: Pourquoi donc ce Magnifique (Clémentine) 4:55 7 Scène 4: Duo: Ma chère enfant (Aldobrandin, Clémentine) 5:47 First performed at the Paris Comédie-Italienne on 4th March, 1773 8 Scène 6: Ah, cʼest un superbe cheval ! (Fabio) 3:55 Edition by Ryan Brown based on the 18th-century parts from the Bibliothèque 9 Scène 7: Trio: Vous mʼétonnez, vous badinez municipale de Rouen, as well as the 18th-century score engraved by J. Dezauche (Aldobrandin, Le Magnifique, Fabio) 3:42 and printed by Montulay, Paris, 1773, and the 20th-century score published by Breitkopf and Härtel. Act II 29:56 Coaching in French diction has been provided by Denise Massé. The 18th-century parts used by the orchestra were made available by the Bibliothèque 0 Scène 3: Ah ! Si jamais je cours les mers (Laurence) 5:02 municipale de Rouen, with assistance from the musicologist Mr. Johann Elart. ! Scène 6: Duo: Je ne sais pourquoi je pleure (Clémentine, Alix) 3:55 @ Scène 10: Quelle contrainte ! (Clémentine) 3:37 Octave, Le Magnifique . Emiliano Gonzalez Toro, Tenor # Scène 11: Trio: Clémentine, mettez-vous là Clémentine, daughter of Horace. -
Sich Einen Namen Machen
Brigham Young University BYU ScholarsArchive Prose Nonfiction Nonfiction 1996 Sich einen Namen machen Susanne Kord Follow this and additional works at: https://scholarsarchive.byu.edu/sophnf_nonfict Part of the German Literature Commons BYU ScholarsArchive Citation Kord, Susanne, "Sich einen Namen machen" (1996). Prose Nonfiction. 236. https://scholarsarchive.byu.edu/sophnf_nonfict/236 This Article is brought to you for free and open access by the Nonfiction at YB U ScholarsArchive. It has been accepted for inclusion in Prose Nonfiction by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Susanne Kord Sich einen Namen machen Anonymitat und weibliche Autorschaft 1700-.1900 .. Susanne Kord Ergebnisse der Frauenforschung Band 41 d p .. 'd ten der Freien Universitat Berlin Begriindet und im Auftrag es rasl en herausgegeben von SICH EINEN NAMEN Prof. Anke Bennholdt-Thomsen, Germanistik Elisabeth Bohmer, Soziologie . MACHEN Prof. Marlis Dilrkop, Sozialpadagoglk Prof. Ingeborg Falck, Medizin . Anonymitat und weibliche Autorschaft 1700-1900 · n T71ewitz Geschichtsdidakuk P.ro. f M ano 1-v ' Prof. Jutta Limbach, Jura Prof. Hans Oswald, Padagogik Prof. Renate Rott, Soziologie . /Anglistik Germanistik hopp-Schilling, Amen1 <:amstl 1< ' Dr. Hanna Beate Sc . '1 Prof. Margarete Z.lmmetma . nn ' Romamstl < Koordination: Anita Runge Verlag J. B. Metzler Stuttgart · Weimar Fur meine Familie: Gedruckt mit Untersti.itzung der Freien Universitat Berlin. Magdalena Pfannkuchen, 1921-1973 Hedwig Pfannkuchen, * 1914 Julie Pfannkuchen, 1890-1977 Eva Gobiet, *1926 Susan Cocalis, *1947 Ihnen verdanke ich die Liebe zum Lesen die Voraussetzung zum Schreiben den Mut zum Veroffentlichen Die Deutsche Bibliothek- CIP-Einheitsaufnahme Kord, Susanne: Sich einen Namen machen : Anonymitat und weibliche Autorschaft 1700 - 1900 I Susanne Kord. -
European Romanticism 1405110392 1 Pretoc Final Proof Page Iii 10.9.2005 7:59Am
Ferber: Companion to European Romanticism 1405110392_1_pretoc Final Proof page iii 10.9.2005 7:59am A C O M P A N I O N T O EUROPEAN R OMANTICISM EDITED BY MICHAEL FERBER Ferber: Companion to European Romanticism 1405110392_3_posttoc Final Proof page xiv 10.9.2005 7:58am Ferber: Companion to European Romanticism 1405110392_1_pretoc Final Proof page i 10.9.2005 7:59am A Companion to European Romanticism Ferber: Companion to European Romanticism 1405110392_1_pretoc Final Proof page ii 10.9.2005 7:59am Blackwell Companions to Literature and Culture This series offers comprehensive, newly written surveys of key periods and movements and certain major authors, in English literary culture and history. Extensive volumes provide new perspectives and positions on contexts and on canonical and post- canonical texts, orientating the beginning student in new fields of study and provid- ing the experienced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the field. 1. A Companion to Romanticism Edited by Duncan Wu 2. A Companion to Victorian Literature and Culture Edited by Herbert F. Tucker 3. A Companion to Shakespeare Edited by David Scott Kastan 4. A Companion to the Gothic Edited by David Punter 5. A Feminist Companion to Shakespeare Edited by Dympna Callaghan 6. A Companion to Chaucer Edited by Peter Brown 7. A Companion to Literature from Milton to Blake Edited by David Womersley 8. A Companion to English Renaissance Literature and Culture Edited by Michael Hattaway 9. A Companion to Milton Edited by Thomas N. Corns 10. A Companion to Twentieth-Century Poetry Edited by Neil Roberts 11. -
Carolyn Kirk Phd Thesis Vol 1
THE VIENNESE VOGUE FOR OPÉRA-COMIQUE 1790-1819 : VOL 1. Carolyn Kirk A Thesis Submitted for the Degree of PhD at the University of St Andrews 1985 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/7282 This item is protected by original copyright The Viennese vogue for opera—comique 1790-1819 submitted by Carolyn Kirk In fulfilment of the requirements for Ph.D. degree of the University of St. Andrews, November, 1983 ii ABSTRACT In the mid-eighteenth century, Vienna, like other European cities, began to manifest the influence of modern French culture; In 1752, a troupe of French players was appointed to the Austrian court to entertain the aristocracy. Four years later, links were forged • between the Parisian and Viennese stages via Favart who corresponded with Count Durazzo in Vienna and sent opera scores and suggestions about personnel. In 1765 problems with finance and leadership led to dismissal of Vienna's first French troupe but others performed there for shorter periods between .:1765 and 1780. Opera-comique was introduced to Vienna by French players. Occasional performances of opera-comique in German translation took place in Vienna during the 1770s. When, in 1778, the Nationalsingspiel was founded, French opera formed part of the repertoire because of a lack of good German works. A renewed interest in opèra-comique began in about 1790 when fear of revolutionary France and the reigns of Leopold and Franz led to a return of interest in Italian opera at the court theatres, and the virtual disappearance of opêra-comique from its repertoire.