English 9130A the Orphic Tradition: Gender, Genre, Genius
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Download Your PDF Copy of Orpheus Descending: a Study Guide
Tennessee Williams’ Directed by Virginia Reh Assistant Directed by Karen McDonald Designed by Michael Greves Department of Dramatic Arts of the Marilyn I. Walker School of Fine and Performing Arts, Brock University Presented in the Sean O’ Sullivan Theatre Centre for the Arts, Brock University St. Catharines, Ontario November 10-12, 2011 Orpheus Descending: A Study Guide Prepared by: Virginia Reh, Director and Department of Dramatic Arts Associate Professor Michael Greves, Scenographer Karen McDonald, Assistant Director and Dramatic Arts Student Erica Charles, Dramaturge and Third Year Dramatic Arts Student Tami Friedman, Historical Consultant Discussion Questions Prepared by Kathy Cavaleri, Dramatic Arts Student “There’s something wild in the country...” ! -Val Xavier, Act 1, Scene 4i Figure 1. “A Great Black and White Desert Snake Eating” Orpheus Descending: A Study Guide!!! !!!!!!! Brock University Department of Dramatic Arts Marilyn I. Walker School of Fine and Performing Arts Page 1 of 35 November, 2011 TABLE OF CONTENTS 1. Collaboration 2. List of Characters 3. The Plot 4. The Playwright: Tennessee Williams 5. Director’s Notes 6. Production History 7. Faith, Myth and Spirituality 8. Aunt Conjure and the Choctaw 9. Historical Content 10. Dramaturge’s Notes 11. Discussion Questions 12. List of Terms 13. List of Figures 14. Endnotes and Bibliography Orpheus Descending: A Study Guide!!! Brock University Department of Dramatic Arts Marilyn I. Walker School of Fine and Performing Arts Page 2 of 35 November, 2011 1. Collaboration Orpheus Descending !!!!!! Written by Tennessee Williams November 10, 11, 12, 2011 at 7:30pm; November 11, 2011 at 1:00pm Brock University Department of Dramatic Arts Marilyn I. -
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). -
Extracts of Orfeu Da Conceição (Translated by David Treece)
Extracts of Orfeu da Conceição (translated by David Treece) Extracts of Orfeu da Conceição (translated by David Treece) The poems and songs here translated are from the play Orfeu da Conceição, by Vinicius de Moraes and Antonio Carlos Jobim. This selection was part of the libretto for “Playing with Orpheus”, performed by the King’s Brazil Ensemble in October 2016, as part of the Festival of Arts and Humanities at King’s College London. Orpheus Eurydice… Eurydice… Eurydice … The name that bids one to speak Of love: name of my love, which the wind Learned so as to pluck the flower’s petals Name of the nameless star… Eurydice… Coryphaeus The perils of this life are too many For those who feel passion, above all When a moon suddenly appears And hangs there in the sky, as if forgotten. And if the moonlight in its wild frenzy Is joined by some melody Then you must watch out For a woman must be there about. A woman must be there about, made Of music, moonlight and feeling And life won’t let her be, so perfect is she. A woman who is like the very Moon: So lovely that she leaves a trail of suffering So filled with innocence that she stands naked there. Orpheus Eurydice… Eurydice… Eurydice… The name that asks to speak Of love: name of my love, which the wind - 597 - RASILIANA: Journal for Brazilian Studies. ISSN 2245-4373. Vol. 9 No. 1 (2020). Extracts of Orfeu da Conceição (translated by David Treece) Learned so as to pluck the flower’s petals Name of the nameless star… Eurydice… A Woman’s name A woman’s name Just a name, no more… And a self-respecting man Breaks down and weeps And acts against his will And is deprived of peace. -
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. -
The Orphic Mysteries 48 Joscelyn Godwin, Ph.D
Each issue of the Rosicrucian Digest provides members and all interested readers with a compendium of materials regarding the ongoing flow of the Rosicrucian Timeline. The articles, historical excerpts, art, and literature included in this Digest span the ages, and are not only interesting in themselves, but also seek to provide a lasting reference shelf to stimulate continuing study of all of those factors which make up Rosicrucian history and thought. Therefore, we present classical background, historical development, and modern reflections on each of our subjects, using the many forms of primary sources, reflective commentaries, the arts, creative fiction, and poetry. This magazine is dedicated• to all the women and men throughout the ages who have contributed to and perpetuated the wisdom of the Rosicrucian, Western esoteric, tradition. May we ever be •worthy of the light with which we have been entrusted. In this issue, the Orphic• Mysteries take center stage. Having completely changed the way that ancient Greek religion viewed the relations between humans and the Divine, Orpheus continues to weave his melodies across more than 2,600 years to transform our hearts, our minds, and our works. No. 1 - 2008 Vol. 86 - No. 1 Orpheus and Eurydice from the Metamorphoses 2 Official Magazine of the Ovid Worldwide The Theology of Orpheus 4 Rosicrucian Order G.R.S. Mead Established in 1915 by the Supreme An Orphic Timeline 9 Grand Lodge of the English Language Rosicrucian Research Library Jurisdiction, AMORC, Rosicrucian Park, San Jose, CA 95191. The Mystic Philosophy of Orpheus 19 Copyright 2008 by the Supreme Grand Imperator Ralph M. -
Poetics of Enchantment: Language, Sacramentality, and Meaning in Twentieth-Century Argentine Poetry
University of Kentucky UKnowledge Theses and Dissertations--Hispanic Studies Hispanic Studies 2011 POETICS OF ENCHANTMENT: LANGUAGE, SACRAMENTALITY, AND MEANING IN TWENTIETH-CENTURY ARGENTINE POETRY Adam Gregory Glover University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Glover, Adam Gregory, "POETICS OF ENCHANTMENT: LANGUAGE, SACRAMENTALITY, AND MEANING IN TWENTIETH-CENTURY ARGENTINE POETRY" (2011). Theses and Dissertations--Hispanic Studies. 3. https://uknowledge.uky.edu/hisp_etds/3 This Doctoral Dissertation is brought to you for free and open access by the Hispanic Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Hispanic Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
Memory Rings
2016 BAM Next Wave Festival #MemoryRings Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Memory Rings BAM Harvey Theater Nov 17—19 at 7:30pm; Nov 20 at 3pm Running time: approx. one hour & 20 minutes, no intermission Phantom Limb Company Conceived by Jessica Grindstaff and Erik Sanko Choreography by Ryan Heffington Direction and design by Jessica Grindstaff Original music and puppet design by Erik Sanko Costume design by Henrik Vibskov Lighting design by Brian H Scott Sound design by Darron L West Projection design by Keith Skretch Dramaturgy by Janice Paran Creative producer Mara Isaacs/Octopus Theatricals Season Sponsor: Major support for theater at BAM provided by: The Francena T. Harrison Foundation Trust Donald R. Mullen Jr. The SHS Foundation The Shubert Foundation, Inc. Additional support provided by The Jim Henson Foundation. Memory Rings CAST Toby Billowitz Rowan Magee Marissa Brown Aaron Mattocks Emeri Fetzer Daniel Selon Takemi Kitamura Carlton Cyrus Ward ADDITIONAL CREDITS Stage manager Randi Rivera Production manager Corps Liminis Design architect Gia Wolff Fragrance design Douglas Little Rehearsal director Aaron Mattocks Cello recording Jeffrey Ziegler Producing associate/Company manager Bryan Hunt Bramble costumes designed by Jessica Grindstaff Costumes fabricated by Henrik Vibskov Studio Bramble costumes fabricated by Daniel Selon and Kaitlyn Horpedahl, Sarah -
34 Writers Head to 7Th Annual Johnny Mercer Foundation Writers Colony at Goodspeed Musicals
NEWS RELEASE FOR MORE INFORMATION, CONTACT: Elisa Hale at (860) 873-8664, ext. 323 [email protected] Dan McMahon at (860) 873-8664, ext. 324 [email protected] 34 Writers Head to 7th Annual Johnny Mercer Foundation Writers Colony at Goodspeed Musicals – 21 Brand New Musicals will be part of this exclusive month-long retreat – This year’s participants boast credits as diverse as: Songwriters of India Aire’s “High Above” (T. Rosser, C. Sohne) Music Director for NY branch of Playing For Change (O. Matias) Composer for PBS (M. Medeiros) Author of Muppets Meet the Classic series (E. F. Jackson) Founder of RANGE a capella (R. Baum) Lyricist for Cirque du Soleil’s Paramour (J. Stafford) Member of the Board of Directors for The Lilly Awards Foundation and Founding Director of MAESTRA (G. Stitt) Celebrated Recording Artists MIGHTY KATE (K. Pfaffl) Teaching artist working with NYC Public Charter schools and the Rose M. Singer Center on Riker’s Island (I. Fields Stewart) Broadway Music Director/Arranger for If/Then, American Idiot, The 25th Annual Putnam County Spelling Bee and others (C. Dean) EAST HADDAM, CONN.,JANUARY 8 , 2019: In what has become an annual ritual, a total of 34 established and emerging composers, lyricists, and librettists will converge on the Goodspeed campus from mid-January through mid-February 2019 to participate in the Johnny Mercer Foundation Writers Colony at Goodspeed Musicals. The writing teams, representing 21 new musicals, will populate the campus, creating a truly exciting environment for discovery and inspiration. The Johnny Mercer Writers Colony at Goodspeed is an unparalleled, long-term residency program devoted exclusively to musical theatre writing. -
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. -
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.