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Music, Theatre and the Nation: the Entertainment Market in Lisbon (1865–1908)

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Music, Theatre and the Nation: the Entertainment Market in Lisbon (1865–1908) Newcastle University School of Arts and Cultures Music, theatre and the nation: The entertainment market in Lisbon (1865–1908) João Luís Meireles Santos Leitão da Silva Submitted in fulfilment of the degree of Doctor of Philosophy September 2011 Abstract The development of the Portuguese entertainment market and the rise of several types of musical theatre are inextricably bound to the complex symbolic and material process through which Portugal was established, presented, developed, and commodified as a modern nation-state between 1865 and 1908. During this period, several fundamental transformations that merged urban planning, everyday life, and modernity took place in Lisbon. In this process, leisure activities began to include new forms of music theatre (such as operetta and the revue theatre) that became an important site for the display of modernity, representing and commodifying the nation. Despite its colonial possessions, Portugal was a peripheral European country where modernity developed in a specific way. The commodification of music associated with both music publishing and mechanical music fostered the creation of a transnational market for goods in a period when most of the trade was conducted with or within national economies. In this context, the Portuguese entertainment market reflected a particular form of negotiation between the local, the national and the global levels, in which gender, class, ethnicity, and technology intertwined with theatrical repertoires, street sounds and domestic music making. ii Acknowledgements The research for this thesis was made possible by a scholarship of the Fundação para a Ciência e Tecnologia, for which I am very grateful. It allowed me to concentrate exclusively on my research and to study at the International Centre for Music Studies in Newcastle University. I am also deeply indebted to my supervisors, Dr. Ian Biddle and Dr. Nanette de Jong for their constant support and friendship throughout this process. Their insightful comments and our discussions were key for the development of this project since I first arrived at Newcastle. I would also like to thank my friends and colleagues of Newcastle University for creating a welcoming environment for the discussion of my ideas and for the valuable guidance I got during the past three years. I would like to thank my colleagues and friends from INET-MD (Universidade Nova de Lisboa), especially Prof. Salwa Castelo-Branco, for allowing me to consult the information produced by the project The Recording Industry in 20th Century Portugal and for the possibility to present my work in several publications. I am also deeply grateful to Leonor Losa and Susana Belchior for our ongoing exchange of information on the issues associated with mechanical music in Portugal and to Gonçalo Antunes de Oliveira for our profitable discussions on Portuguese theatre. Moreover, I would like to thank Sofia Patrão of the Museu Nacional do Teatro for indicating several important sources for the study of the operetta and the revista and Miguel Ângelo Ribeiro for supplying me with valuable data associated with the library of Lisbon’s Conservatoire. Finally, I would like to thank my parents Amílcar and Fátima as well as Joana Lancastre for their continuous moral and practical support from the beginning of this project, helping me to get through this slow and difficult process. This thesis could not have been written without them. iii Contents Introduction 1 Periodicals, Politics and Iconography 6 Urban Space, Theatrical Entertainment and Sociability 8 Commodities, Technology and Everyday Life 12 Science, Alterity and Traditional Music 16 Chapter 1. Periodicals, Music and Society in Portugal from 1820 to 1908 21 The Establishment of a “Neutral” Press and the Industrialisation of Periodicals 26 The Theatrical Press 28 Illustration, Media and the Public Sphere 31 Media and National(ist) Celebration 34 The Workers’s Press: A Theoretical Perspective 36 Voicing the Workers Through the Press 41 Fado, Periodicals, and Politics 46 Music Periodicals in Portugal: Printed Music and Historiography 48 Towards a Historiography of the Vernacular: Fado and Journalism 50 Commonality and Difference in Nation-constructing Discourses: Sameness and Otherness 53 Photography, Mechanical Music and the Regicide: Media and Technology in the Beginning of the Twentieth Century 58 Chapter 2. Urban Space, Theatre and Music in Lisbon: Opera, Operetta, Zarzuela and Revista 67 Introduction 67 Changing the City, Reshaping the Social 69 The Real Teatro de São Carlos and Lisbon’s Operatic Activity 86 Presenting Stories with Music in Lisbon: Operetta and Zarzuela 97 Creating and Staging Operetta in Portugal 103 The Revista and the Promotion of “The Nation”: An Archive on Popular Modernity 113 Structural and Narrative Aspects of the Revista 120 The Music of the Revista: Sources, Orchestras, and Repertoire 122 iv The Revista as a Privileged Place for Representing the Symbolic Nation: Multivocality and Modernity on Stage 129 Chapter 3. Programmes, Postcards, Coplas and Sheet Music in Lisbon’s Entertainment Market 137 Introduction 137 Domestic Space, Gender, and the Piano 137 The Theatre and some of its Associated Products: Librettos, Programmes, Posters, and Postcards 152 Theatrical Repertoires and Sheet Music 159 The Materiality of Sheet Music 169 Chapter 4. Mechanical instruments, Phonography, and the Reshaping of the Music Market 176 Mechanical Instruments, Data Storage, and Musical Repertoires 177 Mechanical Instruments in the Streets of Lisbon 187 The Introduction of Phonography in Portugal 193 The Establishment of Pathé in Portugal 202 The Companhia Franceza do Gramophone in Portugal 211 Local Entrepreneurs in the Portuguese Phonographic Market: Castelo Branco and Simplex 226 Conclusion 229 Chapter 5. Studying the Nation: Folklorisation and Music Collecting in Portugal 231 Introduction 231 Popular Traditions and Textual Analysis: The First Scientific Efforts of Portuguese Ethnology 233 Ethnology and the Portuguese Empire 238 Geology, Archaeology and Physical Anthropology 245 Song Collection in Portugal: Between Domestic Entertainment and Scientific Objectivity 253 v Conclusion 269 References 281 vi List of figures Figure 1. Local/global as a Greimasian square 133 Figure 2. A second elaboration of the local/global as a Greimasian square 134 vii Introduction “The King D. Carlos of Bragança, assassinated in broad daylight in one of the squares of the capital of his kingdom, and the teacher Buíça, his assassin, both sought to rescue, in this anguished historical moment, the Portuguese character from the discredit it had fallen into.”1 This is how a chronicle by Alfredo Mesquita published ten days after the traumatic event that dictated the symbolic death of the Portuguese Constitutional Monarchy began. My thesis concentrates on studying the connections between the symbolic construction of the Portuguese nation and the field of popular entertainment between 1865 and 1908, the year of the regicide. Despite a recent increase of publications on both the regicide and the establishment of the Portuguese Republic in 1910, a rise that can be associated with the centennials of both events, these tend to overlook the theatrical and musical elements of the entertainment market of the later years of the Constitutional Monarchy. Thus, this thesis aims to address a gap in the knowledge of these subjects in the Portuguese context through the study of several musical activities in Lisbon from 1865 to 1908, mainly focusing on the expansion of the theatrical scene of the city, a development that widened the choice of available entertainment. Therefore, my thesis concentrates on the analysis and contextualisation of cultural artefacts associated with various musical practices and their association with a changing theatrical panorama, reconfiguring the leisure activities in Lisbon. According to my perspective, new forms of music theatre (the operetta and the revista) played a key role in creating a privileged space for the display and representation of modernity, a process in which the notion of the cultural nation-state was embedded. For that purpose, the symbolic nation was commodified and disseminated through its integration in these entertainment products, relying on the pervasiveness of the popular theatre in Portuguese society for the promotion of the idea of a modern Portugal, facilitating its internalisation by several social groups of the time. In this sense, my work concentrates on the study of the interaction between symbolic expressions and “the historical conditions and structures of social organisations within which those expressions are grounded.”2 1 Alfredo Mesquita, “Chronica occidental”, O Occidente, nº 1048, 10th February 1908, 26. 2 Michael Pickering, History, Experience and Cultural Studies (London: Macmillan Press Ltd.), 10. 1 Most of the works dealing with the history of the revista in Portugal were published in the late 1970s and in the early 1980s and, despite including the musical aspects of the genre, did not examine them thoroughly.3 Therefore, one of the main contributions of my research is a musicological study of the revista in the period when the genre was encoded and became dominant in Lisbon’s theatres. Moreover, it is possible to detect a rising interest in the musicological study of the Portuguese entertainment market, as the research project on the musical comedy in that country from 1849 to 1900 that has been developing in CESEM (a centre based in the Universidade Nova
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