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El. knyga: Mime, Music and Drama on the Eighteenth-Century Stage: The Ballet d'Action

4.33/5 (5 ratings by Goodreads)
(University of Oxford)
  • Formatas: EPUB+DRM
  • Išleidimo metai: 21-Jul-2011
  • Leidėjas: Cambridge University Press
  • Kalba: eng
  • ISBN-13: 9781139097642
Kitos knygos pagal šią temą:
Mime, Music and Drama on the Eighteenth-Century Stage: The Ballet d'ActionDidesnis paveikslėlis
  • Formatas: EPUB+DRM
  • Išleidimo metai: 21-Jul-2011
  • Leidėjas: Cambridge University Press
  • Kalba: eng
  • ISBN-13: 9781139097642
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"The 'ballet d'action' was one of the most successful and controversial forms of theatre in the early modern period. A curious hybrid of dance, mime and music, its overall and overriding intention was to create drama. It was danced drama rather than dramatic dance, musical drama rather than dramatic music. Most modern critical studies of the ballet d'action treat it more narrowly as stage dance and very few view it as part of the history of mime. Little use has previously been made of the most revealing musical evidence. This innovative book does justice to the distinctive hybrid nature of the ballet d'action by taking a comparative approach, using contemporary literature and literary criticism, music, mime and dance from a wide range of English and European sources. Edward Nye presents a fascinating study of this important and influential part of eighteenth-century European theatre"--

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Nye presents a detailed and fascinating study of the influential eighteenth-century European theatrical form, the 'ballet d'action'.
Acknowledgements ix
A note on references xi
Introduction 1(6)
PART I THE BALLET D'ACTION IN HISTORICAL CONTEXT
7(106)
1 The voice and the body in the Enlightenment
9(29)
Sign language and the dogma of the voice
11(6)
L'Epee's innovations
17(5)
Theories of the origin of language
22(2)
Warburton and hieroglyphs
24(3)
Condillac's action language
27(3)
Rousseau's language of the passions
30(4)
Herder, hearing, and the gateway to the soul
34(4)
2 A revival of ancient pantomime?
38(24)
Differences and misunderstandings
39(4)
The balance between mime and dance
43(6)
The appeal to heart and mind
49(4)
Thematic affinities
53(6)
Origins
59(3)
3 No place for Harlequin
62(22)
Generic differences
63(6)
The French foire
69(3)
The `arte' of expressive body language
72(4)
The influence of reformed Commedia
76(5)
The mixed backgrounds of choreographers
81(3)
4 Decroux and Noverre: Distant cousins?
84(29)
Eighteenth- and twentieth-century renewal
84(3)
Use of the body
87(2)
Mask and face
89(3)
Mime and dance
92(3)
Mime and language
95(5)
Deprioritising language
100(2)
Objective and subjective mime
102(4)
Towards a vocabulary of the passions
106(7)
PART II THE BALLET D'ACTION IN CLOSE-UP: DRAMATIC PRINCIPLES
113(116)
5 Character and action
115(25)
An early innovator: Francoise Prevost
116(4)
Weaver, Salle, and connected character
120(3)
Later developments and problems
123(4)
Literary reflections of dance and character
127(5)
The poverty of instruction books
132(8)
6 Dialogues in mime
140(22)
The challenges
141(3)
The expectations
144(3)
The methods
147(3)
Performative language
150(4)
Operatic ensemble singing
154(8)
7 Choreography is painterly drama
162(23)
`Choregraphie': a metaphor for drama
163(5)
`Die Corographie': a plot synopsis
168(2)
Angiolini and Noverre's quarrels
170(7)
From painterly to graphic
177(8)
8 The admirable consent between music and action
185(23)
Ruth D. Eldredge
Synchronising music and movement
188(5)
Beyond synchronised music
193(1)
Medee et Jason
194(10)
Medee et Jason in context
204(4)
9 Putting performance into words
208(21)
Programmes are controversial
209(2)
Multi-purpose programmes
211(5)
Programmes as paratexts
216(9)
Programmes are inherently controversial
225(4)
Conclusions: What is dance? What is mime? 229(4)
Appendix 233(72)
Select bibliography 305(19)
Index 324
Edward Nye is Fellow of Lincoln College and Lecturer in French at the University of Oxford. His research centres on the eighteenth century and on artistic aesthetics in particular, and he is also interested in the history of ideas across centuries and national borders. He is the author of Literary and Linguistic Theories in Eighteenth-Century France (2000), the editor of a volume of literary reflections on dance, Sur Quel Pied Danser? Danse et Littérature (2005) and the editor of a scholarly anthology on the literature of cycling, A Bicyclette (2000).
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