Listing 1 - 10 of 55 | << page >> |
Sort by
|
Choose an application
At the end of the 1970s, a new genre cycle was formed in US cinema. Starting with space opera in cinema, for which George Lucas' Star Wars is paradigmatic, fantasy established itself for the first time as an independent cinematic genre in distinction from fairy tales and fantastic fiction. The enthusiasm for pen & paper role-playing games and the continuing J. R. R. Tolkien craze culminated in the following years in a series of films that absorbed, pushed and further developed the diversity of modern film technology and production: the spectrum of films ranged from live-action films (Conan the Barbarian) to puppet animation (The Dark Crystal) to animated films (The Last Unicorn), in which George Lucas as well as Jim Henson and the production companies behind them at the time played leading roles. Contemporary critics had written these films off as conservative, sometimes even reactionary genre plays. In contrast, this essay unfolds a (historical) poetics of the US fantasy film. With its film-analytical case studies, the volume shows how the films of the years 1977 to 1987 are embedded in a specific film culture and how the genre cycle as part of the Hollywood system prepared and significantly influenced the triumph of blockbuster cinema in the 1990s.
Choose an application
Venetian playwright and pioneer of modern theatre Carlo Goldoni (1707-1793) led a 'double life' as a librettist, authoring nearly as many libretti as comedies- libretti which, born from the same mind and the same hand that brought forth his famous, and famously controversial, overhaul of the practices of comic theatre, could not but push the limits of the standing tradition to open a new chapter in opera history. Goldoni became one of the first to give shape to the dramma giocoso per musica, an innovative, realistic, and enduring new genre with intimate connections to prose comedy that met with overwhelming international success, becoming the foundation for the works of future generations, including W.A. Mozart and his Italian librettist Lorenzo da Ponte. Perhaps because of his stature and influence as a comic playwright, Goldoni has rarely been considered as an innovator in the musical sphere. This study aims to shed new light on his primary role in the evolution of Classical opera, and on the legacy of his innovations in the European musical tradition.
Music. --- Opera. --- Librettists. --- Italy
Choose an application
Reúnem-se neste 2º tomo dos Opera Omnia de Manuel Pimenta todas as composições poéticas que nos foi possível coligir deste esquecido vate latino escalabitano, com exclusão daquelas que eram do conhecimento mais ou menos restrito de alguns quantos eruditos e se encontravam recolhidas no volume póstumo dos Poemata, publicado em Coimbra, no ano de 1622, graças
Opera Omnia --- Poetry --- Manuel Pimenta
Choose an application
Que signifie créer un opéra, en France, depuis 1900 ? Louise (Charpentier, 1900) et Pelléas et Mélisande (Debussy, 1902) marquent les débuts de l’opéra français du XXe siècle par l’originalité de leurs sujets, la pertinence de leurs traitements musicaux, l’équilibre de leur ensemble et ouvrent la voie à presque mille créations, dans les théâtres nationaux, régionaux, comme dans les compagnies ou les festivals. Le groupe de recherche Opéfra (Opéra en France), créé en 2009, propose ici des outils pour comprendre et découvrir les paradoxes, les utopies et la réalité de la scène lyrique dans un univers bousculé par plusieurs guerres et de profonds changements sociaux et culturels. Il sera question des enjeux et des métamorphoses de l’opéra en France au fil du XXe siècle, des tendances en présence au tournant avec le XXIe siècle, mais aussi des livrets et des œuvres créées en marge des avant-gardes ou des genres canoniques. Les analyses présentées dans cet ouvrage sont complétées par des entretiens avec Georges Aperghis, Isabelle Aboulker, Graciane Finzi, Pierrette Fleutiaux, Pierre Bartholomée et Jean-Baptiste Barrière.
Music --- Opera --- Musique --- Opéra --- History and criticism --- Histoire et critique --- Opéra --- Libretto --- Opera - France - 20th century - Congresses --- Opera - France - 21st century - Congresses --- Libretto - Congresses --- Theater --- opéra --- histoire de l'opéra --- art lyrique français
Choose an application
Choose an application
The unification of the arts in the "Gesamtkunstwerk" of courtly opera has repeatedly been the subject of musicological research, but so far, for example, the specific spatial-architectural side of courtly opera has hardly been considered. Music theater means scenic performance and architecture alike. Both formed essential components of lordly representation in the 17th and 18th centuries. In the Old Kingdom, therefore, not only the aristocratic nobility arranged music-theatrical performances, but smaller courts also brought ballets and operas on stage. The interdisciplinary contributions of a conference of the Rudolstädter Arbeitskreis zur Residenzkultur deal with the topic in a European perspective and explain the diverse connections that existed between the music theater and the courtly space in the architectural, political-cultural and social sense. Die Vereinigung der Künste im „Gesamtkunstwerk“ der höfischen Oper bildete zwar schon wiederholt den Gegenstand musikwissenschaftlicher Forschungen, doch wurde beispielsweise die spezifisch räumlich-architektonische Seite der höfischen Oper bislang kaum beachtet. Musiktheater meint aber szenische Aufführung und Architektur gleichermaßen. Beide bildeten wesentliche Komponenten herrschaftlicher Repräsentation im 17. und 18. Jahrhundert. Im Alten Reich veranlasste daher nicht nur der reichsständische Adel musiktheatrale Aufführungen, sondern auch kleinere Höfe brachten Ballette und Opern auf die Bühne. Die interdisziplinären Beiträge einer Tagung des Rudolstädter Arbeitskreises zur Residenzkultur widmen sich dem Thema in einer europäischen Perspektive und erläutern die vielfältigen Verbindungen, die zwischen dem Musiktheater und dem höfischen Raum im architektonischen, politisch-kulturellen sowie sozialen Sinn bestanden.
art history --- architecture --- opera --- kunstgeschichte --- architektur --- oper
Choose an application
paq’batlh: The Klingon Epic is the definitive edition of the grand Klingon epic of Kahless the Unforgettable (qeylIS lIjlaHbogh pagh). The story of Kahless is a tale of legendary proportions comparable to those of ancient heroes Hercules, Ulysses, and Gilgamesh. Betrayed by his brother and witness to his father’s brutal slaying, Kahless is pitted against his bitter enemy, the mighty tyrant Molor. To regain his honor he must travel into the Underworld, create the first bat’leth, and unite with his true love, Lady Lukara, to fight many epic battles. Through this awe-inspiring adventure Kahless redefines what its is to be truly Klingon.Reconstructed from several sources, this bilingual Klingon/English edition provides a keen insight into the nature of Klingon culture and mythology, and features the first publication of Ancient Klingon (no’ Hol) fragments. Meticulously translated by the world’s leading Klingon language expert, Marc Okrand, this classic epic is a must have for anyone interested in Klingon culture and language.The second edition includes a fully revised text and translation, as well as a new preface on no’ Hol by DeSDu’ jen puqloD.
Choose an application
Comment concevoir qu’un livret d’opéra ait pu être réécrit pour des marionnettes ou sous forme de pantomime ? Peut-on imaginer qu’une œuvre lyrique ait suscité plus de huit parodies ? Sait-on que Louis XVI et Marie-Antoinette avaient leur parodiste attitré ? Les réécritures comiques d’opéra, représentées sur les théâtres de la foire et des boulevards comme à la Comédie-Italienne de Paris et sur les théâtres privés, connaissent une vogue étonnante au siècle des Lumières. Parodier l’opéra, ce n’est pas écrire contre l’opéra, mais plutôt participer à sa promotion en jouant le double jeu de la critique et du divertissement. Les parodistes comme Fuzelier, Favart, Romagnesi ou Despréaux, manient autant l’art des vaudevilles que celui du pastiche, et possèdent une riche culture littéraire et musicale. Des opéras de Lully à ceux de Gluck, rares sont les œuvres à succès qui n’ont pas été parodiées. Retracer l’histoire de cette pratique permet d’entrer dans les arcanes de la vie théâtrale des Lumières, où les frontières entre culture populaire et culture élitiste sont brouillées, où l’opéra, l’opéra-comique et la parodie évoluent sans se quitter des yeux. Taxée de « mauvais genre » par certains, décrite comme un « spectacle gai, varié et même magnifique » (d’Argenson) par d’autres, la parodie d’opéra n’est pas un épiphénomène ; ce qui se joue avec elle, tout au long du XVIIIe siècle, c’est une certaine idée du théâtre comique en musique.
Parody in music --- Musical parodies --- Opera --- Parodie (Musique) --- Parodies musicales --- Opéra --- Opéra --- France --- Theater --- opéra --- parodie --- comique --- histoire du théâtre
Choose an application
In Svoboda: Wagner, Jarka Burian (1927–2005) presents an in-depth exploration of the collaboration between one of Germany's greatest composers and the Czech Republic's most innovative multimedia scene designer. More familiar with Svoboda's (1920–2002) work, Burian translates the artistic collaboration between Svoboda and Wagner through the production of The Ring of the Nibelung, one of opera's most complicated pieces. Examining stage orchestration, acting methods, and architecture, Burian attempts a view into modern scenography and the inner workings of the theatre for the public reader.
Stage design. Scenography --- Wagner, Richard --- Svoboda, Josef --- Opera --- Production and direction. --- Svoboda, Josef, --- Wagner, Richard, --- Opera direction --- Opera production --- Operas --- Direction --- Production and direction --- Theatre studies
Listing 1 - 10 of 55 | << page >> |
Sort by
|