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Stage design. Scenography --- Opera --- Opéra --- Opéra --- 78.77.6 --- Opera - France - 17th century
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Philippe Quinault (1635-1688), auteur dramatique à succès (sa tragédie "Astrate" fut en 1664-1665 l'un des plus grands triomphes sur la scène au XVIIe siècle en France) et librettiste de Lully avec qui il écrivit onze "tragédies en musique" (la forme canonique adoptée par l'opéra français naissant), fut un homme de théâtre complet. Certains documents, jusque-là peu mis en lumière , montrent qu'il fut un spécialiste reconnu de la déclamation mélodique, rythmée et rhétorique employée par les grands acteurs tragiques de l'époque. Mais comment - et pourquoi ? - Quinault, qui rencontrait le succès sur la scène parisienne, a-t-il pris le risque de suivre une voie nouvelle et incertaine, celle du théâtre lyrique ? La cohérence de sa carrière dramatique, de l'Hôtel de Bourgogne à l'Académie royale de musique, ne fait pa sde doute, sous la double perspective unificatrice d'une volonté continue de collaborer aux grands divertissements pour Louis XIV et d'une fidélité, originale pour l'époque, à une dramaturgie de type néo-tragi-comique. L'intérêt de rapprocher théâtre parlé et opéra chez Quinault se confirme quand on aborde le domaine de la thématique. Dans les deux types de spectacle, il opère une disjonction entre l'héroïsme et la passion amoureuse, celle-ci apparaissant comme un penchant à la fois universel et insidieux, d'une totale ambivalence morale. Contrairement aux clichés tenaces, il existe bien un tragique de l'amour destructeur chez le "tendre" Quinault, dont le libertinage est fondé sur une approche de l'amour plus descriptive que laudative et un hédonisme plus fataliste qu'optimiste. Ce contraste entre une dramaturgie de l'enchantement et une thématique du désenchantement n'est pas le moindre intérêt d'un dramaturge inclassable, qui sut apporter à la naissance de l'opéra français une contribution tardive, mais décisive.
Opera --- Music and literature --- France --- History --- Quinault, Philippe, --- Criticism and interpretation --- Quinault, Philippe --- Opera - France - 17th century --- Music and literature - France - History - 17th century --- Quinault, Philippe, - 1635-1688 - Criticism and interpretation --- Quinault, Philippe, - 1635-1688
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Opera --- Music --- Women singers --- Music in the theater --- Opéra --- Musique --- Chanteuses --- Musique au théâtre --- Philosophy and aesthetics --- Philosophie et esthétique --- Vocal music --- Singing --- Femininity in music --- History and criticism --- Opéra --- Musique au théâtre --- Philosophie et esthétique --- Vocal music - France - 17th century - History and criticism --- Vocal music - France - 18th century - History and criticism --- Opera - France - 17th century --- Opera - France - 18th century --- Singing - France - 17th century --- Musicologie --- Écoute musicale (pratique) --- Voix --- Femmes --- 17e siècle --- 18e siècle
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Opera --- Music and language. --- Music and literature. --- Metaphor. --- Music --- Opéra --- Musique et langage --- Musique et littérature --- Métaphore --- Musique --- Philosophy and aesthetics. --- Philosophie et esthétique --- Lully, Jean Baptiste, --- Rameau, Jean Philippe, --- Music and language --- Music and literature --- Metaphor --- Philosophy and aesthetics --- Opéra --- Musique et littérature --- Métaphore --- Philosophie et esthétique --- Rameau, Jean-Philippe, --- Lully, Jean-Baptiste, --- Opera - France - 17th century --- Opera - France - 18th century --- Music - France - Philosophy and aesthetics
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This is the first study to recognise the broad impact of opera in early-modern French culture._Downing A. Thomas considers the use of operatic spectacle and music by Louis XIV as a vehicle for absolutism; the resistance of music to the aesthetic and political agendas of the time; and the long-term development of opera in eighteenth-century humanist culture. He argues that French opera moved away from the politics of the absolute monarchy in which it originated to address Enlightenment concerns with sensibility and feeling. The book combines close readings of significant seventeenth-century and eighteenth-century operatic works, circumstantial writings and theoretical works on theatre and opera, together with a measure of reception history. Thomas examines key works by Lully, Rameau, and Charpentier, among others, and extends his reach from the late seventeenth century to the end of the eighteenth.
Theatrical science --- anno 1600-1699 --- anno 1700-1799 --- Opera --- Music and state --- Enlightenment --- Music --- Opéra --- Musique --- Siècle des Lumières --- History --- Philosophy and aesthetics --- Politique gouvernementale --- Histoire --- Philosophie et esthétique --- History. --- Philosophy and aesthetics. --- -Music --- -Music and state --- -Opera --- -Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- State and music --- Cultural policy --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Aufklärung --- Eighteenth century --- Philosophy, Modern --- Rationalism --- History and criticism --- Social aspects --- -Philosophy and aesthetics --- -Drama --- Comic opera --- Opéra --- Siècle des Lumières --- Philosophie et esthétique --- -State and music --- Gluck-Piccinni controversy --- Querelle des Bouffons --- France --- 17th century --- 18th century --- Opera - France - 17th century. --- Opera - France - 18th century. --- Music and state - France - History. --- Enlightenment - France. --- Music - France - Philosophy and aesthetics. --- Opera - France - 18th century --- Music and state - France - History --- Enlightenment - France --- Music - France - Philosophy and aesthetics
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Opera --- Theaters --- Costume --- Opéra --- Théâtres --- Stage-setting and scenery --- History --- Décors et mise en scène --- Histoire --- Château de Chambord (Chambord, Loir-et-Cher, France) --- CDL --- 782 --- Opéra --- Théâtres --- Décors et mise en scène --- Opera. --- Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- Fancy dress --- Motion pictures --- Stage costume --- Theater --- Theatrical costume --- Decorative arts --- Clothing and dress --- History and criticism --- Château de Chambord (Chambord, Loir-et-Cher, France) --- opera's --- toneelgeschiedenis --- Theatrical science --- kostuumgeschiedenis --- decors --- anno 1700-1799 --- anno 1600-1699 --- France --- Château de Chambord --- Exhibitions --- 17th century --- 18th century --- Opera - Stage-setting and scenery - France - Exhibitions --- Opera - France - 17th century - Exhibitions --- Opera - France - 18th century - Exhibitions --- Costume - France - Exhibitions
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