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Neoclassicism refers to the revival of classical art and architecture beginning in Europe in the 1750s until around 1830, with late neoclassicism lingering through the 1870s. It is a highly complex movement that brought together seemingly disparate issues into a new and culturally rich era, one that was unified under a broad interest in classical antiquity. The movement was born in Italy and France and spread across Europe to Russia and the United States. It was motivated by a desire to use ideas from antiquity to help address modern social, economic, and political issues in Europe, and neoclassicism came to be viewed as a style and philosophy that offered a sense of purpose and dignity to art, following the new “enlightened” thinking. This second edition of Historical Dictionary of Neoclassical Art and Architecture contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries cover late Baroque and Rococo tendencies found in the early 18th century, and span the century to include artists who moved from neoclassicism to early romanticism. This book is an excellent resource for students, researchers, and anyone wanting to know more about neoclassical art and architecture.
This long-awaited bibliography of recent books about theatre architecture, scenography and costume, published with the support of Belgian Ministry of Culture and the «Théâtre & Publics» Association, has been prepared in collaboration with experts in five languages: English, French, German, Italian and Russian. This extensive bibliography, which meets the demands of the International Theatre Institute organizations and the International Organization of Scenographers, Theatre Architects and Technicians, will prove useful to theatre practitioners as well as to confirmed or young theatre scholars. Cette bibliographie rassemble un choix d'ouvrages sur le théâtre et l'architecture, la scénographie, le costume. Elle a bénéficié de la collaboration d'experts internationaux (anglais, français, allemands, italiens et russes). Répondant à la demande de l'IIT (Institut international du théâtre) et de l'OISTAT (Organisation internationale des scénographes, techniciens et architectes de théâtre), cette bibliographie en cinq langues est un précieux outil pour tout praticien et théoricien du théâtre.
In the late eighteenth century, a movement to transform France's theatre architecture united the nation. Playwrights, philosophers, and powerful agents including King Louis XV rejected the modified structures that had housed the plays of Racine and Molière, and debated which playhouse form should support the future of French stagecraft. In The First Frame, Pannill Camp argues that these reforms helped to lay down the theoretical and practical foundations of modern theatre space. Examining dramatic theory, architecture, and philosophy, Camp explores how architects, dramatists, and spectators began to see theatre and scientific experimentation as parallel enterprises. During this period of modernisation, physicists began to cite dramatic theory and adopt theatrical staging techniques, while playwrights sought to reveal observable truths of human nature. Camp goes on to show that these reforms had consequences for the way we understand both modern theatrical aesthetics and the production of scientific knowledge in the present day.
This work is an account of popular theatre as the central form of entertainment in Regency and Victorian London. The author roots each play in the context of its original performance, as most London theatres had a distinctive local audience and character, and an understanding of a particular drama involves considering the class and attitudes of those for whom it was performed.
This is the first detailed study of the Hotel Guenegaud, the first home of the Paris Opera in 1670, and the first home of the Comedie-Francaise ten years later.
Robert M. Beadell (1925-1994) modestly referred to himself as a neoclassic eclectic composer and an obscure regional composer, yet these appellations do not begin to describe the importance of his contribution to twentieth century American music. The four music dramas which are the subject of this study are each very different in their size and scope, yet all bear the unmistakable stamp of Beadell's unique blend of music and drama. This book intends to show that the four music dramas are unique examples of American opera and should have the opportunity to be examined for their musicological and dramatic worth so that American opera directors and impresarios can decide if they should be included as definitive examples of American opera.
This study adds another insight into the period of Louis XIV - that the confluence of the theatrical arts from older traditions developed to shape a distinctly French style which all pertained to the glorification of the Sun King. While previous studies have stressed the literary and musical side of the performances of the period, this study examines the settings and scene designs which completed the picture of the royal mythologies. Besides giving an account of the festivities of Versailles and other venues, and setting them in their social environment, this work relates the spectacles to the political and social milieu, incorporating both contemporary literary theory and cultural history.
This study examines the effect of the mask upon the masked performer int he Balinese Topeng and Calonarang dance dramas and Japanese Noh Theatre. It represents the first systematic study of the relationship between the actor and the mask from the performer's perspective. The approach is largely empirically based and draws upon the author's extensive field research in Bali and Japan which included interviews with performers and mask makers, study of mask carving and dance and observation of private lessons and public performances. This study will be of interest to scholars and students in many fields including Anthropology, Cultural Studies, Performance Studies, Theatre, Dance and Visual Arts. It will be also of interest to theatre and dance practitioners, especially those working with masks or intercultural performance.