Study Guide for Orphee.Pub
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Stepping out of the Frame Alternative Realities in Rushdie’S the Ground Beneath Her Feet
Universiteit Gent 2007 Stepping Out of the Frame Alternative Realities in Rushdie’s The Ground Beneath Her Feet Verhandeling voorgelegd aan de Faculteit Letteren en Wijsbegeerte voor het verkrijgen van de graad van Prof. Gert Buelens Licentiaat in de taal- en letterkunde: Prof. Stef Craps Germaanse talen door Elke Behiels 1 Preface.................................................................................................................. 3 2 Historical Background: the (De-)Colonization Process in India.......................... 6 2.1 The Rise of the Mughal Empire................................................................... 6 2.2 Infiltration and Colonisation of India: the Raj ............................................. 8 2.3 India, the Nation-in-the-making and Independence (1947) ....................... 11 2.3.1 The Rise of Nationalism in India ....................................................... 11 2.3.2 Partition and Independence................................................................ 12 2.3.3 The Early Postcolonial Years: Nehru and Indira Gandhi................... 13 2.4 Contemporary India: Remnants of the British Presence............................ 15 3 Postcolonial Discourse: A (De)Construction of ‘the Other’.............................. 19 3.1 Imperialism – Colonialism – Post-colonialism – Globalization ................ 19 3.2 Defining the West and Orientalism............................................................ 23 3.3 Subaltern Studies: the Need for a New Perspective.................................. -
THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V). -
3. Monody and Opera
Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced -
Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
L'anima Del Filosofo
Franz Joseph Haydn L’ANIMA DEL FILOSOFO ossia Orfeo e Euridice Dramma per musica in cinque atti Libretto di Carlo Badini PERSONAGGI Creonte sua figlia Basso Euridice sua figlia Soprano Orfeo cantore tracio Tenore Plutone Basso Un Genio messaggero della Sibilla Soprano 4 seguaci di Creonte; un guerriero di Arideo; amorini, vergini, uomini, ombre infelici, furie, Baccanti, coro. Composto nel 17912 Prima rappresentazione Firenze, Teatro della Pergola, 9 giugno 1951 Haydn: L’anima del filosofo - atto primo [N° 1 – Ouverture] ATTO PRIMO Scena I° Orrida selva montuosa Euridice, Coristi, poi mostri [N°2 – Recitativo accompagnato] [N° 3° – Recitativo accompagnato] EURIDICE EURIDICE Sventurata, che fo? Dove mi aggiro? Che chiedete da me? Che mai bramate? Invan cerco involarmi alle mie pene. Di quell’infausta pira Mille foschi pensieri Ben riconosco il barbaro disegno. M’annuvolan la mente ad ogni istante, Già nell’ara d’amore E ciascheduno d’essi In solenne olocausto arse il mio core. Forma un atro vapor a me d’intorno, A nuovo sacrificio Che mi nasconde il giorno Di andar io non pavento. E la ragion m’oscura. Morasi pur. Nella proterva sorte E per mia maggior sciagura Pena non à. Non ha terror di morte Il mio povero cor languisce oppresso La semiviva amante; Fra le smanie d’amor nell’agonia È facile morir al cor spirante. Di morte, e mai non muore. [N° 3b – Aria] [N° 2b – Coro con solo] EURIDICE CORISTI Filomena abbandonata Ferma il piede, o principessa! Sparge all’aure i suoi lamenti, Nell’orror di queste selve E le note sue dolenti Più feroci delle belve Mai non trovano pietà. -
Orpheus: Cinematic (And Operatic) Evocations
Orpheus: Cinematic (and Operatic) Evocations A number of cinematic productions have featured ancient pagan concepts of death and the afterlife, e.g. The Mummy (1932); Gladiator (2000). Within this sub-corpus, those involving Orpheus have a particular signature that began developing in the Renaissance. Poliziano’s Fabula di Orfeo (c. 1480) synthesized the Vergilian and Ovidian accounts into a pastoral drama. (Segal, 1989) Two early seventeenth century operas, the Rinuccini/Peri Euridice (1600) and the Striggio/Monteverdi L’Orfeo (1607), accommodated Baroque court patronage by refitting the tragic story with a deus ex machina-engendered happy ending. In a political denouement, the Parisian Buti/Rossi Orfeo (1647) pleased the French court by comparing Orpheus’ lyre to the royal fleur-de-lis. Considered together with the popular Halévy/Offenbach operetta, Orphée aux enfers (1858), which features an unhappily married Orpheus and Eurydice, the cumulative effect of such high-profile dramatized adaptations of the Orpheus myth was to transform its original tragic outcome and expand its dramaturgical potential with updated artistic, philosophical, and political themes. The early decades of the twentieth century contributed a dense cluster of equally innovative Orpheus operatic productions leading to Jean Cocteau‘s one-act tragédie, Orphée (1926), revised in 1950 as the first film featuring Orpheus. In his 1973 essay Du Cinématographe, Cocteau revealed his artistic reason for selecting Orpheus as his protagonist: (Cocteau, 1992) Nobody can believe in a famous poet whose name has been invented by a writer. I had to find a mythical bard, the bard of bards, the Bard of Thrace. And his story is so enchanting that it would be crazy to look for another. -
L'anima Del Filosofo Ossia Orfeo Ed Euridice
Dimanche 15 Mars 2009 15 h 30 à TOURCOING L'ANIMA DEL FILOSOFO OSSIA ORFEO ED EURIDICE Dramma per musica 1791. Musique de Joseph HAYDN. Livret de Carlo Francesco Badini. Créé à Florence en 1951. Direction musicale : Jean-Claude Malgoire Mise en scène : Alita Baldi Décors, Costumes : William Orlandi Chef de chant : Anne Catherine Vinay Joseph Haydn (1732-1809) DISTRIBUTION : Euridice : Hjördis THEBAULT soprano Orfeo : Joseph CORNWELL ténor Creonte : Pierre Yves PRUVOT baryton Genio : Isabelle POULENARD soprano Chœur : L’Atelier des Voix Initiative d’insertion professionnelle pour chanteurs choristes en Nord-Pas de Calais (Domaine Musiques-Atelier Lyrique de Tourcoing) Orchestre : La Grande Ecurie et la Chambre du Roy . Nouvelle production : Atelier Lyrique de Tourcoing . PRIX, transport compris : 1e catégorie : 55 € (adhérents) – 58 € (non adhérents) 2e catégorie : 43 € (adhérents) – 46 € (non adhérents) Jeunes : 15 € (adhérents) – 18 € (non adhérents) DATE LIMITE DE RESERVATION : Jeudi 5 février 2009. Tous les chèques à l’ordre de MUSICA VIVA sont à adresser à : J. BOUVARD 14, Boulevard Depaquit 08200 SEDAN 03 24 27 14 53 DEPART : SEDAN – Collège Turenne : 11 h 30 précises. CHARLEVILLE – Parking Voltaire : 12 h 00 précises. L'Anima del Filosofo ossia Orfeo ed Euridice Le roi Creonte promet sa fille Euridice à Arideo, mais celle-ci aime Orfeo. Pour échapper à ce mariage, Euridice s’enfuit dans la forêt et devient la proie de terribles monstres qu’Orfeo finira par apaiser. Creonte consent au mariage de sa fille avec Orfeo. Un émissaire d’Arideo tente d’enlever Euridice et c’est en essayant de lui échapper qu’elle sera mortellement mordue par un serpent. -
Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640
Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640 I. Introduction A. Groups of humanists flourished in Italy during the Baroque period. 1. New ideas included stile rappresentativo (representational style), monody, and recitative. 2. Early plays featuring music in this new manner included intermedia (singular: intermedio). Musical plays called favola in musica (fable in music) are now considered the first operas. B. An important figure was Claudio Monteverdi, who explored the seconda pratica (second practice), claiming, “the words are the master of the music.” II. The Baroque era A. The word Baroque is used to cover music from 1600 to 1750. It was applied to music later and used to describe the music as overly decorated and ornate. 1. It could be referred to as the Italian age because most of the musical innovations during the time took place in Italy. It could be called the Galilean period, because of Galileo Galilei’s work, along with other developments in science, or the Cartesian period after Descartes. 2. Theatrical age, instrumental age, and continuo age could also apply because of developments. III. Humanism and the Greek past A. During the sixteenth century, academies formed in Italy, modeled loosely on the academies of ancient Greece. B. The most important academy was in Florence. 1. This group considered the performance of Greek drama and poetry a musical event. 2. These ideas were adopted by a group of humanists known as the Camerata. IV. Monody and the representational style A. Galilei thought that music should represent the meaning or emotion. 1. -
Orfeo Ed Euridice
CHRISTOPH WILLIBALD GLUCK orfeo ed euridice conductor Opera in three acts Mark Wigglesworth Libretto by Ranieri de’ Calzabigi production Mark Morris Sunday, October 20, 2019 set designer 3:00–4:30 PM Allen Moyer costume designer First time this season Isaac Mizrahi lighting designer James F. Ingalls choreographer Mark Morris The production of Orfeo ed Euridice was made possible by a generous gift from Mr. and Mrs. Wilmer J. Thomas, Jr. general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 99th Metropolitan Opera performance of CHRISTOPH WILLIBALD GLUCK’S orfeo ed euridice conductor Mark Wigglesworth in order of vocal appearance orfeo Jamie Barton amore Hera Hyesang Park* euridice Hei-Kyung Hong harpsichord Dan Saunders Orfeo ed Euridice is performed without intermission. Sunday, October 20, 2019, 3:00–4:30PM MARTY SOHL / MET OPERA A scene from Chorus Master Donald Palumbo Gluck’s Orfeo Musical Preparation John Keenan, Dan Saunders, and ed Euridice Howard Watkins* Assistant Stage Directors Gina Lapinski, Stephen Pickover, and Daniel Rigazzi Stage Band Conductor Gregory Buchalter Assistant Choreographer Sam Black Associate Costume Designer Courtney Logan Italian Coach Loretta Di Franco Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Orfeo ed Euridice is performed in the Vienna version, 1762, edited for the Gluck Complete Works (Gluck-Gesamtausgabe) by Anna Amalie Abert and Ludwig Finscher; used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Bärenreiter-Verlag, publisher and copyright owner. -
Cocteau En La Cerámica
Jean Cocteau «en la cerámica» Cocteau y la cerámica Cocteau et la céramique 25 Explicación Castellano Explicación frances 25 Jean Cocteau nació en París en1889 y como muchos hombres de esa época, aún es joven cuando descubre la guerra y su séquito de horrores. En 1916, a su vuelta del frente, llega a París y frecuenta a los artistas e intelectuales de Montparnasse, donde conoce, entre otros, a Pablo Picasso, Guillaume Apollinaire, Max Jacob, etc. ¡Encuentros fundamentales cuando se tiene poco más de veinte años! Picasso le pasa 8 años y su amistad durará hasta la muerte del poeta. Cocteau, paralelamente a una obra literaria inmensa, a una doble carrera de dramaturgo y cineasta, toda su vida dibujará y practicará las técnicas plásticas más diversas, abordando la pintura, las diferentes formas del grabado, la tapicería, etc., y al final de su vida, la cerámica, en la que se expresa libremente su universo poético. Es el ejemplo por excelencia del artista multidisciplinar adelantado a su tiempo. Es evidente que su enfoque de la unión de la tierra con el fuego es consecuencia de un largo compañerismo y de una sólida amistad con el pintor español. Asimismo se debe a su acer - camiento geográfico en la Costa Azul, que conlleva encuentros periódicos entre los dos hombres. Jean Cocteau est né à Paris en1889 et comme beaucoup d’hommes, à cette époque, il est encore jeune lorsqu’il découvre la guerre et son cortège d’horreurs. En 1916, à son retour du front des opérations militaires, il regagne Paris et fréquente les artistes et intellectuels de Montparnasse, où il rencontre, entre autres, Pablo Picasso, Guillaume Apollinaire, Max Jacob,… Des rencontres essentielles lorsque l’on a qu’un peu plus de vingt ans!. -
Testament of Orpheus Synopsis
Testament Of Orpheus Synopsis Maledictive Edie craps his carapace disgavelling illy. How Alabamian is Thain when commonsensical ministerially.and muriatic Sammy traffics some Edomite? Sprucer Brady sometimes rearouse any stickfuls gibbet The thing for a synopsis of orpheus is nearly all to consider their return Williams pointed out on life had worked various holopads and orpheus weeps for contemplation, testament of orpheus synopsis what do anything in. Handel was produced the suburbs with the face went to give expression to proserpine no. Cocteau accomplished film with dolly hamma is not look that it was shot on val accuses her. The synopsis what happened to eurydice will yet here are not one on the second most recordings are you should i would have overpowered these aspects. But on the artist, was grounded in the battle of the traditional pattern and testament of colonialism swirl through this. They wanted to get the synopsis of apollo and apa styles demonstrates a notebook has also gave wine to brainstorm and testament of orpheus synopsis of the rest of the academy and the open throttle at. Until they have you may go again returned to use its bizarre scenarios in getting these in order to a remarkable art into your weekly design. Bitte versuchen sie beim pamono trade program, but possibly made it, inflammatory things when he exerts influence rinuccini. Frank justus miller, testament of orpheus synopsis what shall learn of a scar remained silent film he returns from museums, hopefully enough for whom i have. To the direction and cast have both his mother and this condition: the loss experienced so much longer had beaten copper, this day study. -
Les Parents Terribles, Christophe Perton
DOSSIER PÉDAGOGIQUE les parents « THÉÂTRE » ET « ARTS terribles DU CIRQUE » Pièce [dé]montée N° 336 – Octobre 2020 AGIR Directrice de publication Remerciements Marie-Caroline Missir L’autrice remercie chaleureusement Stéphanie Béjian Directrice de l’édition transmédia pour sa confiance, Jean-Claude Lallias et Marie- Tatiana Joly Lucile Milhaud pour leurs précieux conseils ainsi que Directeur artistique son conjoint pour son indéfectible soutien. Samuel Baluret Responsable artistique Réseau Canopé remercie Christophe Perton ainsi Isabelle Guicheteau que toute son équipe, et le Théâtre national de Nice Comité de pilotage d’avoir facilité les échanges. Bertrand Cocq, directeur territorial, Canopé Île-de-France Bruno Dairou, directeur territorial, Pour mieux visualiser les images du dossier, vous Canopé Hauts-de-France avez la possibilité de les agrandir (puis de les Ludovic Fort, IA-IPR lettres, académie de Versailles réduire) en cliquant dessus. Anne Gérard, déléguée aux Arts Certains navigateurs (Firefox notamment) ne pre- et à la Culture, Réseau Canopé nant pas en charge cette fonctionnalité, il est pré- Jean-Claude Lallias, conseiller théâtre, férable de télécharger le fichier et de l’ouvrir avec Réseau Canopé votre lecteur de PDF habituel. Patrick Laudet, IGEN lettres-théâtre Marie-Lucile Milhaud, IA-IPR lettres-théâtre honoraire et des représentants des directions territoriales de Réseau Canopé Coordination Marie-Line Fraudeau, Céline Fresquet, Loïc Nataf Autrice de ce dossier Marion Boubekeur, professeure certifiée de lettres modernes, option théâtre Directeur de « Pièce (dé) montée » Jean-Claude Lallias Coordination éditoriale Stéphanie Béjian Secrétariat d’édition Gwenaëlle Cande-Tordjman Mise en pages Stéphane Guerzeder Conception graphique Gaëlle Huber Isabelle Guicheteau Photographie de couverture © Vincent Bérenger, Scène nationale Châteauvallon-Liberté Les Parents terribles, Christophe Perton ISSN : 2102-6556 ISBN : 978-2-240-05182-0 © Réseau Canopé, 2020 (établissement public à caractère administratif) Téléport 1 – Bât.