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This volume contains key articles and chapters which represent both seminal and innovative scholarship on European theatre performance practice from 1750 to 1900, with a particular focus on acting and performance, staging (including set design and lighting), and audiences. The selection of significant texts on this rich period of theatre history features detailed analysis as well as more focussed investigations and captures the dynamic and variegated nature of European theatre throughout the late-eighteenth and nineteenth centuries.
This volume contains key articles and chapters which represent both seminal and innovative scholarship on European theatre performance practice from 1750 to 1900. The selected topics focus on acting and performance, staging (including set design and lighting), and audiences, and are approached with a broad perspective as well as with in-depth, focussed analysis. The volume captures the rich, dynamic and variegated nature of European theatre throughout the late-eighteenth and nineteenth centuries and provides a carefully selected body of significant texts on this important period of theatre history.
This volume brings together important records of medieval theatre practice between 1400 and 1580. The records are drawn from a wide range of spheres including civic, ecclesiastical, trade and guild records and consist of payments for materials, techniques and services; also included are some eye witness accounts. Alongside these records is a selection of the best contemporary research conducted into medieval performance practice, which features ground-breaking analysis and challenges current understanding, knowledge and authority in this field. These contributions of rigorous scholarship complement and support the work of the well-known Records of Early English Drama project and help to further illuminate contemporary fifteenth and early sixteenth-century theatre performance practice.
The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.
Schenker was one of the most influential music theorists of the 20th century. In this essay, he turns his attention to the performer's role, arguing that the cult of the virtuoso has led to an overemphasis on technical display.
The focus of this volume is Britain's trans-Pacific empire. This began with haphazard challenges to Spanish dominion, but by the end of the 18th century, the British had established a colony in Australia and had gone to the brink of war with Spain to establish trading rights in the north Pacific. These rights led to formal colonies in Vancouver Island and British Columbia, when Britain sought to maintain a north Pacific presence despite American expansionism. In the later 19th century the international ’scramble for the Pacific’ resulted in new British colonies and protectorates in the Pacific islands. The result was a complex imperial presence, created from a variety of motives and circumstances. The essays selected here take account of the wide range of economic, political and cultural factors which prompted British expansion, creating tension in Britain's imperial identity in the Pacific, and leaving Pacific peoples with a complicated and challenging legacy. Along with the important new introduction, they provide a basis for the reassessment of British imperialism in the Pacific region.
This handbook aims at a history of Arabic shadow theatre from the earliest sightings in the tenth century to the turn of the twentieth century. At the core is an analytical documentation of all the known textual remnants and the preserved artifacts of this rich and still living tradition.
The genre of mélodrame à grand spectacle that emerged in the boulevard theatres of Paris in the 1790s - and which was quickly exported abroad - expressed the moral struggle between good and evil through a drama of heightened emotions. The premise of this volume is the idea that the melodramatic aesthetic is central to our understanding of nineteenth-century music drama, broadly defined as spoken plays with music, operas and other hybrid genres that combine music with text and/or image.