Academic literature on the topic '19th century teatre'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic '19th century teatre.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "19th century teatre"
1
Sales Baviera, Joana. "Sis peces teatrals reaparegudes del teatre valencià." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 17 (May 31, 2021): 187. http://dx.doi.org/10.7203/scripta.17.20910.
Full textAbstract:
Resum: Durant el període del s. xix, el teatre valencià representat pel gènere de sainet, anomenat per molts estudiosos obreta de fer riure, va tindre una repercussió molt marcada. Però no el teatre culte, que per circumstàncies, entre les quals es trobava la mancança d’una normativa lingüística, ortogràfica i gramatical, no va arribar a ser una de les prioritats dels escriptors noucentistes valencians. Llavors, trobem com el sainet escrit amb el seu registre col·loquial, és el gènere literari que representa l’anomenat teatre valencià de l’època. Gràcies a llegats i col·leccions, els investigadors han anat classificant i recopilant aquestes obres que formen part de la nostra literatura. En aquest estudi donarem a conèixer sis peces teatrals corresponents al segle esmentat. Aquestes peces, les quals han romàs desaparegudes, les hem pogut extraure gràcies al llegat d’un dels teatres més importants que ha tingut la ciutat de València, el Teatre Russafa.Paraules clau: teatre valencià, sainet, Teatre Russafa, ValènciaAbstract: During the period of the 19th century, the Valencian theater represented by the genre of one act play, called by many scholars a work of laughter, had a very marked repercussion. But not the cult theater, which due to circumstances, among which was the lack of linguistic, orthographic and grammatical regulations, did not become one of the priorities of the Valencian xix century writers. Then, we find how the one act play written with its colloquial register, is the literary genre that represents the so-called Valencian theater of the time. Thanks to legacies and collections, researchers have been classifying and compiling these works that are part of our literature. In this study we will present six plays corresponding to the aforementioned century. We have been able to extract these pieces, which have disappeared, thanks to the legacy of one of the most important theaters in the city of Valencia, the Theater Russafa. Keywords: valencian theater, one act play, Russafa Theater, Valencia
2
Garcia Gázquez, Hilari. "L’herència del debat literari sobre la condició femenina en l’obra dramàtica de Francesc Palanca i Roca." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 16 (December 13, 2020): 383. http://dx.doi.org/10.7203/scripta.16.19236.
Full textAbstract:
Resum: Els estudiosos del teatre del segle XIX consideren que els gèneres escènics vuitcentistes, en especial el sainet, són una font de documentació de la societat d’aquells anys. En conseqüència, a través d’una part important de la producció dramàtica de Francesc Palanca i Roca (1834-1897) podem resseguir els hàbits, els costums i les tradicions dels valencians d’aquell període, fins i tot la disputa o el debat al voltant de les dones que inundava els ambients literaris i acadèmics europeus des de l’edat mitjana. En aquest sentit, observarem com les obres per a escena de Palanca i Roca recullen l’herència dels tòpics misògins i dels arguments en defensa de la condició femenina, una herència que procedeix tant de la literatura culta com de la popular. En definitiva, la detecció i identificació d’aquests elements serà l’objectiu del present treball.Paraules clau: misogínia, teatre, sainetAbstract: 19th century researchers consider that 18th century drama genres, especially the «sainet» (a comic sketch), are a source of documentation on those years society. Consequently, we can follow the habits, uses and traditions of the Valencian people of that period through an important part of the drama production by Francesc Palanca i Roca (1834-1897), even the dispute or debate on women that used to flood the European literary and academic circles of the medieval age. In this respect, we will see how the drama plays by Palanca i Roca gather the heritage of misogynous topics and the arguments on women’s condition defence, a heritage coming from the cultivated literature as well as from the popular one. All in all, the detection and identification of these elements will be the objective of the present work.Keywords: misogyny, theatre, sainet
3
Lasa Álvarez, Begoña. "INÉS DE CASTRO EN LA NARRATIVA EUROPEA ENTRE FINALES DEL SIGLO XVII Y PRINCIPIOS DEL SIGLO XIX." Revista Internacional de Culturas y Literaturas, no. 2 (2005): 58–72. http://dx.doi.org/10.12795/ricl.2005.i02.05.
Full textAbstract:
La figura de Inés de Castro y su relación amorosa con don Pedro de Portugal, conocido como Pedro el Cruel, han inspirado a lo largo de los tiempos a numerosos artistas. Buena muestra de ello son los diferentes géneros en los que se ha recreado esta historia, que van desde la poesía, la narrativa o el teatro, hasta la ópera o el ballet. Los acontecimientos históricos que rodean a Inés de Castro son de por si atractivos al entremezclarse el amor con las luchas dinásticas medievales. Sin embargo, los numerosos hechos y personajes que han ido alterándose, e incluso añadiéndose, con el paso del tiempo han convertido a Inés en un personaje de leyenda y hasta en un mito.
4
Gooptu, Sarvani. "Memory and the written testimony: the actresses of the public theatre in Calcutta in the 19th & 20th century." Letrônica 11, no. 3 (2018): 113. http://dx.doi.org/10.15448/1984-4301.2018.s.30663.
Full textAbstract:
Modern theatrical performances in Bengali language in Calcutta, the capital of British colonial rule, thrived from the mid-nineteenth century though they did not include women performers till 1874. The story of the early actresses is difficult to trace due to a lack of evidence in contemporary sources. So though a researcher is vaguely aware of their significance and contribution to Indian theatre, they have remained shadowy figures – nameless except for those few who have left a written testimony of their lives and activities. It is my intention through the study of this primary material and the scattered references to these legendary actresses in vernacular journals and memoirs, to recreate the stories of some of these divas and draw a connection between testimony and lasting memory. ***Memória e testemunho escrito: as atrizes do teatro público em Calcutá nos séculos XIX e XX***As representações teatrais modernas na língua bengali em Calcutá, a capital do governo colonial britânico, prosperaram a partir de meados do século XIX, embora não incluíssem mulheres até 1874. É difícil traçar a história das primeiras atrizes devido à falta de evidências em fontes contemporâneas. Dessa forma, embora o pesquisador tenha uma vaga consciência de sua contribuição e importância para o teatro indiano, elas permaneceram obscuras – anônimas, com exceção daquelas que deixaram um testemunho escrito de suas vidas e atividades. Por meio do estudo desse material primário e das referências esparsas a essas lendárias atrizes em diários e memórias na língua vernácula, pretendo recriar as histórias de algumas dessas divas e estabelecer uma conexão entre testemunho e memória duradouraPalavras-chave: Atrizes; Teatro bengali; Párias sociais; Representação e produção criativa; Memória e testemunho escrito.
5
Suriano, Alba Rosa. "La modernità nel teatro egiziano: l’esempio di Naǧīb al-Rīḥānī". Oriente Moderno 99, № 1-2 (2019): 203–19. http://dx.doi.org/10.1163/22138617-12340214.
Full textAbstract:
Abstract Arab modernity, in theatre, is characterized by the foundational discourse that grew out of the encounter with European theatre and culture. Traditional types of dramatic representation, some even going back to the pre-Islamic period, were largely neglected by authors and critics, between the end of the 19th and the beginning of the 20th century. They preferred to overlook the influence of popular Arabic theatre and reconnect to the ‘Italian’ theatre. Egyptian playwrights imported the structure of the plays, but they adapted it to the Arabic social context and used it for their own cultural project. This study deals with the themes, the reference samples and the characters, in their relationships with the Egyptian cultural field. After a presentation of the major models in the modern Arab theatre, I will focus on Naǧīb al-Rīḥānī in order to investigate which were the paradigmatic references and characters for one of the main actor and playwright of Egyptian modernity.
6
Vandenbussche, Wim. "Historische Sociolinguïstiek in Vlaanderen." Thema's en trends in de sociolinguistiek 4 70 (January 1, 2003): 39–49. http://dx.doi.org/10.1075/ttwia.70.05van.
Full textAbstract:
Historical sociolinguistic research on the Dutch language area during the 19th century has so far mainly been concerned with the situation in Flanders. Given the crucial relevance of this period for the history and the development of Dutch, however, there is a great need for comparable research clarifying the situation in the Northern part of the Dutch language territory. This article, which is explicitly intended as a 'teaser' for such research in the Netherlands, deals with the social communicative functions of dialect, Dutch and French for Flemish upper class writers from the town of Bruges in the 19th century. It will be demonstrated that the commonly accepted views of the opposition between French ([+prestige, upper class]) and Dutch ([-prestige, working class]) do not match the facts found in original archive corpora. Using town council records, meeting minutes from a prestigious upper class circle, and election propaganda, we will show that French, Dutch and dialect were used by the town elite according to stricdy pragmatic considerations to include or exclude specific segments of the town population in various communicative contexts.
7
Rubio Cremades, Enrique. "Análisis del corpus crítico teatral publicado por el editor Ghiraldo en obra inéditas de Galdós." Monteagudo, no. 25 (October 15, 2020): 123–31. http://dx.doi.org/10.6018/monteagudo.446291.
Full textAbstract:
La prestigiosa editorial Renacimiento publicó en el año 1923 un total de doce volúmenes titulados Obras inéditas de Galdós. El correspondiente al volumen V, titulado Nuestro Teatro, el colector de dichas obras de Galdós, recopiló un corpus crítico referido a la crítica teatral y al mundo del teatro en general de gran interés para el conocimientodel ideario estético galdosiano y sus reflexiones sobre el estado de la escena española durante la segunda mitad del siglo XIX. El presente estudio aborda dichos aspectos basados en un conjunto de artículos que pueden considerarse una auténtica rereza bibliográfica. In 1923, the prestigious publisher Renacimiento published a total of twelve volumes titled Unpublished Works by Galdós. In Volume V, entitled Our Theater, the author of the collection compiled a critical corpus referred to theater criticism and the world of theater in general. This is of great interest for the knowledge of Galdosian aesthetics ideology and its reflections on the state of the Spanish scene during the second half of the 19th century. The present study addresses these aspects based on a set of articles that can be considered a true bibliographical rarity.
8
Vannucci, Alessandra. "A pátria no palco: mobilização política e construção de uma identidade nacional nos clubes recreativos italianos em São Paulo (1870-1920) / Motherland on Stage: Political Mobilization and Construction of a National Identity in Italian Philodramatic” Societies in São Paulo (1870-1920)." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 3 (2019): 41. http://dx.doi.org/10.17851/2358-9787.28.3.41-64.
Full textAbstract:
Resumo: O ensaio analisa a atividade dos clubes recreativos italianos em São Paulo, a partir do final do século XIX, quando a cidade se transforma de vila colonial em metrópole industrial e sofre o impacto das grandes migrações. A fuga dos trabalhadores das plantações para a cidade, onde conseguem articular formas de resistência à exploração através do associacionismo voluntário (jornais, sindicatos e teatro) alimenta um clima de discriminação, culminando em perseguição racial. A emancipação política é conquistada através da arte, principalmente nos palcos. Nas peças deste repertório, os valores patrióticos e nacionalistas do Risorgimento, que haviam alimentado uma primeira fase da literatura emigrante, são paulatinamente substituídos pela utopia internacionalista da sociedade “sem pátria e sem patrões”.Palavras-chave: teatro italiano no Brasil; amadorismo teatral; emigração.Abstract: We analyze some of the Italian recreational clubs activities in São Paulo, from the end of the 19th century, when the city was transformed from a colonial village into an industrial metropolis and suffered the impact of the great migrations. Escaping from plantation to the city, workers manage to articulate forms of resistance to exploitation through voluntary associations (newspapers, trade unions and theatre) which fuels a discrimination atmosphere, culminating in racial persecution. Political emancipation has been pursued through art, especially on stage. The patriotic and nationalist values of the Italian Risorgimento that had fuelled a first phase of emigrant literature are gradually replaced by the internationalist “homeless and boss less” society utopia.Keywords: Italian theatre in Brazil; amateur actors; emigration.
9
Rusmana, Tatang. "Rekontruksi Nilai-Nilai Konsep Tritangtu Sunda Sebagai Metode Penciptaan Teater Ke Dalam Bentuk Teater Kontemporer." Mudra Jurnal Seni Budaya 33, no. 1 (2018): 114. http://dx.doi.org/10.31091/mudra.v33i1.314.
Full textAbstract:
Konsep filosofi Tritangtu Sunda, sebagai falsafah hidup masyarakat Sunda di Kabupaten Bandung. memiliki tiga makna penting tentang pembagian dunia, tiga dunia itu yakni Buana Nyungcung (Dunia Atas, simbolnya; Langit, Air, dan Perempuan), Buana Larang (Dunia Bawah, simbolnya; Bumi, Tanah, dan Laki-laki), dan Buana Pancatengah (Dunia Tengah, simbolnya; Batu, Manusia, Laki-laki dan Perempuan). Tritangtu Sunda merupakan perspektif penyatuan tiga dunia dalam kehidupan masyarakat petani. Penyatuan tersebut yaitu perkawinan Buana Nyungcung dengan Buana Larang, dan Buana Pancatengah-lah yang menyatukannya. Konsep Tritangtu Sunda berpengaruh terhadap seni tutur Wawacan yang lazim ditampilkan ke dalam Seni Beluk. Wawacan inilah yang ikut membentuk pikiran kolektif masyarakat Sunda. Wawacan yang menjadi sumber penelitian disertasi ini adalah “Wawacan Nata Sukma” yang ditulis anonim oleh masyarakat Banjaran, Kabupaten Bandung tahun 1833 M (abad ke-19) dalam masa “tanam paksa” untuk menanam kopi di Pangalengan. Tritangtu Sunda akan difungsikan sebagai perangkat penciptaan seni teater berbasis teater kontemporer (terutama penyutradaraan). Penelitian menggunakan penajaman teori resepsi Isser, untuk mengaktualisasikan karya dengan cara yang berbeda, karena tidak ada tafsir tunggal yang benar (Culler, 2003). Pendekatan lain pendapat George Land dari teori transformasi, diartikan sebagai sebuah kreasi baru atau perubahan ke bentuk yang baru baik secara fungsi maupun strukturnya. “To transform”, berarti mengkreasikan yang baru yang belum pernah ada sebelumnya, transformasi juga bisa berarti perubahan “polapikir”. Perangkat penelitian menggunakan metoda yang disarankan Schechner (2002 dan 2004) dan metode mise en scene yang dirumuskan oleh Patrice Pavis. The concept of the Sunda Tritangtu philosophy, is the life philosophy of the Sundanese community including in Bandung regency. Derived from this philosophy are three important meanings of the division of the world, the three worlds are Buana Nyungcung (Upper world, its symbols: Heavens, Water, and Woman), Buana Larang (Underworld, symbols; Earth, Land and Man), and Buana Pancatengah (Middle world, symbol: Stone, Man, Man and Woman). The Sundanese Tritangtu is the perspective of the unification of the three aforementioned worlds in peasant life. The union is the marriage of Buana Nyungcung with Buana Larang, and Buana Pancatengah is the one that unites it. The concept of the Sundanese Tritangtu influences the art of Wawacan speech that is commonly integrated into the art of Beluk. Wawacan is a contributing factor in what helped shape the collective minds of the Sundanese people. Wawacan, which is the source of this dissertation research, is "Wawacan Nata Sukma”, written anonymously by Banjaran society, Regency of Bandung in 1833 AD (19th century) during "Cultuurstelsel" to grow coffee in Pangalengan. Sunda Tritangtu functions as a tool for the creation of theater based contemporary theater modalities (especially directing). This research uses Isser's reception theory, to actualize the work in different ways. There is no single correct interpretation (Culler, 2003). Another approach of George Land's opinion of the theory of transformation, defined as a new creation or change to a new form both in function and structure. "To transform", means creating a new one that has never existed before, transformation can also mean a change of "mindset". The research used Schechner's method (2004 and 2004) and the mise en scene method formulated by Patrice Pavis.
10
Checa Beltrán, José, and Abraham Madroñal Durán. "Manuscritos dieciochescos desconocidos del Fondo Altamira en la Biblioteca de Ginebra." Cuadernos de Estudios del Siglo XVIII, no. 28 (December 7, 2018): 221. http://dx.doi.org/10.17811/cesxviii.28.2018.221-252.
Full textAbstract:
RESUMENEn la «Collection Favre» de la Bibliothèque de Genève se custodia el «Fondo Altamira», 83 códices con unos diez mil documentos históricos y literarios, casi todos manuscritos. Contienen textos de los siglos XV al XVIII. Constituyen una pequeña parte del enorme fondo documental que en el siglo XIX pertenecía a los Condes de Altamira. Cuatro de esos 83 volúmenes contienen manuscritos literarios del Siglo de Oro y, sobre todo, del siglo ilustrado. Los autores de este artículo ofrecen aquí un catálogo de todos esos textos, centrando su atención en los relativos al siglo XVIII. La mayor parte de este inventario corresponde a manuscritos desconocidos e inéditos: diez comedias y un gran número de composiciones poéticas de temática variada, amorosa, sátira política, religiosa, temas festivos, eventos, milagros, villancicos, sobre teatro y actores, etc.PALABRAS CLAVELiteratura del siglo XVIII español, manuscritos literarios inéditos del siglo XVIII español, Fondo Altamira, Biblioteca de Ginebra, Collection Favre. TITLEUnknown eighteenth-century manuscripts from the Altamira Archives at Geneva LibraryABSTRACTIn the «Collection Favre» of the Bibliothèque de Genève the «Fondo Altamira» is guarded, 83 codices with some ten thousand historical and literary documents, almost all manuscripts. They contain texts from the 15th to the 18th centuries. They constitute a small part of the enormous documentary collection that belonged to the Counts of Altamira in the 19th century. Four of those 83 volumes contain literary manuscripts of the Golden Age and, above all, the Enlightenment century. The authors of this article offer a catalogue of all these texts, with a particular focus on those related to the XVIII Century. Most of this inventory corresponds to unknown and unpublished manuscripts: ten comedies and a large number of poetic compositions of varied theme, love, political satire, religious, festive themes, events, miracles, Christmas carols, theater and actors, etc.KEY WORDSLiterature of the eighteenth century Spanish, unpublished literary manuscripts of the eighteenth century Spanish, Altamira Archives, Geneva Library, Collection Favre.
Dissertations / Theses on the topic "19th century teatre"
1
Faura, Sánchez Francisco Manuel. "Juan Mayorga y el teatro de la memoria en el contexto social y literario de comienzos de milenio." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668078.
Full textAbstract:
El estudio de las nuevas tendencias dramatúrgicas contemporáneas no se encuentra alejado de todo lo político y social que está gestándose en la sociedad occidental actual. Los cambios producidos en este comienzo de milenio debido, en gran parte, a las luchas de poder entre lo nuevo y lo tradicional, han originado unas luchas entre todos los ciudadanos que están más o menos vinculados al mundo de la cultura. Por este motivo, este estudio muestra todos esos cambios a través de una mirada crítica a la sociedad, no por el mero hecho de mostrarse escéptico con toda la realidad que rodea a esta época, sino por tratar de una manera dura y rigurosa los tópicos que rodean a los nuevos creadores.
Para concretar estas nuevas tendencias en un solo nombre y a raíz de lo expuesto a lo largo del trabajo, la aproximación a su dramaturgia y los ensayos académicos, Juan Mayorga ha estudiado en su creación una visión crítica y filosófica de la sociedad, así como una desconfianza a las palabras y verdades establecidas a lo largo de la tradición. Juan Mayorga se ha convertido en un autor atrayente para los académicos por su lenguaje dramático y su puesta en escena. Su trabajo como dramaturgo y su reciente inclusión en la Real Academia Española le confieren un mérito lingüístico y filosófico que impregna todo su trabajo como dramaturgo. Los espectadores que asisten a sus eventos teatrales han de entrar en el juego político-teatral que él mismo propone.<br>The study of the new contemporary dramaturgical tendencies is not far from everything political and social which occurs in the western society. The changes produced in this beginning of the millennium due, in large part, to the clash of cultures between the new and the traditional, have led to struggles among all citizens who are linked to the culture world. For this reason, this study shows all these changes through a critical look at society, not just keeping skeptical of all this reality what surround this time, but treating in a extensive and rigorous way the topics that wraps up the new creators.
To concretize these new tendencies in a single name and following the exposition throughout the work, the approach to his dramaturgy and the academic essays, Juan Mayorga has studied in his creation a critical and philosophical point of view of the society, as well as a distrust to the words and truths established throughout the tradition. Juan Mayorga has become an attractive author for academics because of his dramatic language and his staging. His work as a playwright and his recent inclusion in the Royal Spanish Academy give him a linguistic and philosophical merit that spreads out all his playwright work. The spectators who attend their theatrical events have to enter into the political-theatrical game that he proposes.
2
Saklıca, Ayşegül. "Análisis comparativo de dos historias de amor: los amantes de Teruel y Ferhat i̇le Şi̇ri̇n de la tradicion oral a la literatura." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/382473.
Full textAbstract:
La presente tesis doctoral es un estudio comparativo de dos leyendas de distintas culturas: «Los Amantes de Teruel» de España y «Ferhat ile Şirin» de Turquía. Es el primer estudio que contiene el análisis de una leyenda española con un relato turco desde un punto de vista comparativo utilizando una bibliografía amplia de los importantes estudiosos de España, Turquía y de todo el mundo.
El estudio consta de dos partes. La primera parte contiene el análisis de los dos relatos en la tradición oral. En el primer capítulo se analiza la distinción entre los géneros folclóricos que pertenecen las dos historias: la leyenda y halk hikayesi. En el segundo capítulo se centran en los orígenes de «Los Amantes de Teruel» y su evolución en la cultura oral del país, analizando la estructura y los motivos folclóricos que contiene el primer testimonio oral del relato en España, el papel escrito de letra antigua de Yagüe de Salas. En el tercer capítulo se dedica a los orígenes del relato turco y al análisis comparativo de sus cinco versiones en la tradición oral turca teniendo en cuenta la estructura que se proporciona por el investigador turco del folclore, Pertev Naili Boratav y los motivos folclóricos de Antti Aarne. En el último capítulo de la primera parte se hace un análisis comparativo de la estructura y los motivos folclóricos de los primeros testimonios de las historias española y turca.
La segunda parte consta de sus versiones más exitosos en la literatura de dos países: Los amantes de Teruel de Juan Eugenio Hartzenbusch y Ferhat ile Şirin de Nazım Hikmet. En el primer capítulo se dedica a la vida y la época de Hartzenbusch y la comparación de las dos versiones de la obra; una escrita en 1839, el primer manuscrito y la otra de 1849. Así se ve tanto la evolución de la leyenda en la literatura y también la evolución del drama y el dramaturgo en el siglo XIX. En el segundo capítulo consta de la vida y época de Nazım Hikmet que cultiva su obra dentro del movimiento realismo social y se considera como uno de los autores de la literatura turca más conocidos mundialmente. Para hacer el análisis, escogimos la primera publicación de Ferhat ile Şirin y lo comparamos con su versión en castellano Leyenda de amor, que se traduce bajo el dominio del mismo autor. Así se ven los cambios a la hora de traducir la obra a otro idioma. Tambien se ven la evolución de la leyenda dentro de la literatura.<br>This present thesis contains a comparative study of two legends of different cultures: "The Lovers of Teruel" in Spain and "Ferhat and Şirin" in Turkey. It is the first study that elaborates the analysis of a Spanish legend with a Turkish story from a comparative point of view using a large bibliography of leading scholars from Spain, Turkey and the entire world.
The study consists of two parts. The first part contains the analysis of the two stories in the oral tradition. In the first chapter analyses the diferences between the folk genders that belong two stories: the legend and halk hikayesi. The second chapter focuses on the origins of "The Lovers of Teruel" and its evolution in the oral culture of the country, analyzing the structure and folk motifs taht contains the first oral testimony of the story in Spain taht is written by notarial Yagüe de Salas. The third chapter is dedicated to the origins of the Turkish story and the comparative analysis of the structure of Pertev Naili Boratav and folk motifs of Antti Aarne of the five versions in Turkish oral tradition. The last chapter contains the comparative analysis of the structure and the folk motifs of the first testimonies of the Spanish and Turkish stories.
The second part consists of its most successful versions in the literature of two countries: The Lovers of Teruel of Juan Eugenio Hartzenbusch and Ferhat ile Şirin of Nazım Hikmet. The first chapter is dedicated to the life and the century of Hartzenbusch and the comparison of the two versions of the book; one is written in 1839, the first manuscript and the other in 1849. Wıth thıs study we see the evolution of the legend in literature and also the evolution of the drama in the 19th century. The second chapter consists of the life and era of Nazım Hikmet who cultivated his work within the social realism movement and is regarded as one of the authors of Turkish literature more known ın world. We chose the first publication of Ferhat ile Şirin and compare it with the version in Spanish Legend of Love, translated under the control of the same author. So we compare the diferences between the original text and the translation one and also the evolution of the legend in literature.
3
Vila Fernández, Anna Maria. "El teatre català a Tarragona en la segona meitat del segle XIX (1864-1880)." Tesi doctoral, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/380035.
Full textAbstract:
La tesi que presentem és una descripció rigorosa de la vida escènica de la ciutat de Tarragona durant el període comprès entre els anys 1864 i 1880. De manera més concreta, posa especial atenció a les manifestacions del teatre català partint d’una aproximació polièdrica al fenomen de l’espectacle. En aquest sentit, s’allunya d’una visió centrada exclusivament en dramaturg/text i el seu context històric i literari i analitza, a més, els espais que empararen els espectacles, així com els intèrprets que van donar-los vida.
La metodologia seguida ha estat, més enllà de la recerca en fons històrics, biblioteques i altres centres de documentació, el buidatge sistemàtic dels fons hemerogràfics locals, material bàsic en el capítol dedicat a l’anàlisi de la cartellera.
L’objectiu principal que perseguim és ubicar la realitat teatral tarragonina vuitcentista dins de la realitat teatral del conjunt de l’àrea catalanòfona, i entendre com es van rebre i assimilar diversos canvis en la dinàmica espectacular del Dinou.
A diferència de la resta d’àmbits estudiats, el període temporal de l’anàlisi de la cartellera és volgudament restringit. Aprofundeix en un dels estadis més significatius del procés pel qual els escriptors i, en especial, els dramaturgs van assumir que el català no només era llengua de tribu, sinó que també era llengua de polis, prenent els mots de Joaquim Mallafrè. Així, a partir de la dècada dels 60 i amb el detonant de l’èxit de Frederic Soler als teatres d’estiu del passeig de Gràcia (1864), es depassa l’estadi del sainet cap a formes dramàtiques de més volada (BACARDIT I GIBERT 2003: 108) i es consolida una cultura popular en català.<br>La tesis es una descripción rigurosa de la vida escénica de la ciudad de Tarragona durante el periodo comprendido entre los años 1864 y 1880. De manera más concreta, pone especial atención a las manifestaciones del teatro catalán partiendo de una aproximación poliédrica al fenómeno del espectáculo. En este sentido, se aleja de una visión centrada exclusivamente en el dramaturgo/texto y su contexto histórico y literario y analiza, además, los espacios que ampararon los espectáculos, así como los intérpretes que les dieron vida.
La metodología seguida ha sido, más allá de la investigación en fondos históricos, bibliotecas y otros centros de documentación, el vaciado sistemático de los fondos hemerográficos locales, material básico en el capítulo dedicado al análisis de la cartelera.
El objetivo principal que perseguimos es ubicar la realidad teatral decimonónica de Tarragona dentro de la realidad teatral del conjunto del área catalanohablante, i entender cómo se recibieron y asimilaron diferentes cambios en la dinámica espectacular del siglo XIX.
A diferencia del resto de ámbitos estudiados, el periodo temporal del análisis de la cartelera está restringido a propósito. Profundiza en uno de los estadios más significativos del proceso por el cual los escritores y, en especial, los dramaturgos, asumieron que el catalán no solo era lengua de tribu, sino que también era lengua de polis. Así, a partir de la década de los 60 y con el detonante del éxito de Frederic Soler en los teatros de verano del Barcelona (1864), se superó el estadio del sainete hacia formas dramáticas de más envergadura y se consolidó una cultura popular en catalán.
En definitiva, esta tesis es una contribución al estudio de la escena decimonónica catalana que parte de este estadio concreto y de una perspectiva local, y que se amplía a lo largo del siglo y el territorio.<br>This thesis is an accurate description of the theatrical life in Tarragona between 1964 and 1880. More specifically, it focuses on the Catalan dramatic performances starting from a polyhedric approach to the artistic event. Accordingly, our vision is not centred exclusively on the playwright/play and its historical and literary context, but also analyses the spaces in which they were performed and the performers who brought them to life.
The methodology followed for the study, beyond the research on historical collections, libraries and other documentation centres, has been the systematic extraction of the local newspaper archives, fundamental data in the chapter regarding the billboard analysis.
The major objective of this study is to place the Tarragona’s nineteenth-century theatrical life within the context of the theatrical life in the whole Catalan-speaking area and understand how different changes on the performing arts during this period were received and assimilated.
In contrast with the rest of the studied subjects, the billboard analysis covers a deliberately limited period of time. This part goes more deeply into the phase of the process in which the writers, and particularly the playwrights, assumed the fact that the Catalan language was not just language of the tribe but also city language, in the words of Joaquim Mallafrè. Thus, since the 1860s and alongside the tipping point of Frederic Soler’s success in the Passeig de Gràcia summer theatres (1864), the sainet stage is left behind for higher dramatic forms (BACARDIT I GIBERT 2003: 108) and a folk culture in Catalan language is consolidated.
4
Mainente, Renato Aurélio [UNESP]. "Reformar os costumes ou servir o público: visões sobre o teatro no Rio de Janeiro oitocentista." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/150203.
Full textAbstract:
Submitted by RENATO AURELIO MAINENTE null (renatomainente@hotmail.com) on 2017-04-07T18:42:13Z
No. of bitstreams: 1
1 - MAINENTE, Renato Aurélio Tese.pdf: 1629680 bytes, checksum: daafc41f7a4e5e1c1afa695c9554e343 (MD5)<br>Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-04-17T14:22:38Z (GMT) No. of bitstreams: 1
mainente_ra_dr_fran.pdf: 1629680 bytes, checksum: daafc41f7a4e5e1c1afa695c9554e343 (MD5)<br>Made available in DSpace on 2017-04-17T14:22:38Z (GMT). No. of bitstreams: 1
mainente_ra_dr_fran.pdf: 1629680 bytes, checksum: daafc41f7a4e5e1c1afa695c9554e343 (MD5)
Previous issue date: 2016-08-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Nas últimas décadas do século XIX, o Rio de Janeiro assistiu a um incremento no número de casas teatrais e uma diversificação de espetáculos oferecidos ao público. Os melodramas, dramas realistas e as óperas italianas, até então dominante nos palcos, passaram a sofrer concorrência cada vez maior de operetas e demais gêneros teatrais musicados, culminando com o sucesso do teatro de revista na última década do oitocentos. Essa diversificação, porém, foi alvo de intenso debate: nas páginas de jornais e revistas do período, literatos como Machado de Assis, Jose de Alencar, Aluísio Azevedo e Raul Pompéia, teciam juízos acerca das obras, dos autores e também sobre a própria estrutura das casas teatrais. No entanto, para além de julgamentos propriamente estéticos, estavam em questão, sobretudo, diferentes concepções da atividade teatral e da função dos teatros na sociedade oitocentista. Tratava-se, assim, da defesa de uma atividade teatral pautada por dois princípios distintos, reformar os costumes da sociedade e servir ao público obras voltadas para seu entretenimento. O objetivo deste estudo é, portanto, mapear os diferentes discursos acerca do teatro nacional, a partir da análise de dois conjuntos de fontes: textos publicados em periódicos no Rio de Janeiro oitocentista, e que abordavam o cenário teatral do período; e os pareceres emitidos pelo Conservatório Dramático Brasileiro, instituição encarregada da censura às obras dramáticas e líricas a serem encenadas nas casas teatrais da corte. Partindo dessa análise, será possível identificar as diferentes expectativas nutridas pelos homens de cultura do período quando o assunto era a arte teatral, e principalmente o desenvolvimento do teatro nacional.<br>In the last decades of the nineteenth century, Rio de Janeiro witnessed an increase in the number of theatrical houses, and diversification of shows offered to the public. The melodramas, realistic dramas and Italian operas, hitherto dominant on stage, have come under increasing competition from operettas to other theatrical musical genres, culminating in the success of the revue in the last decade of the nineteenth century.However, this diversification has been the subject of intense discussion: in the pages of newspapers and magazines of the period literati, writers like Machado de Assis, Jose Alencar, Aluísio Azevedo and Raul Pompeia, wrote reviews about the works of authors and also on the structure of theatrical houses. However, in addition to properly aesthetic judgments were concerned, above mainly different conceptions of theatrical activity and function of the theaters in the nineteenth century society. It was thus the defense of a theatrical activity guided by two distinct principles, reform the customs of the society and serve the public works aimed for your entertainment. The aim of this study is therefore to map the different discourses about national theater, from the analysis of two sets of sources: texts published in journals in Rio de Janeiro in the nineteenth century, and approached the theatrical setting for the period; and the reports emitted by Brazilian Dramatic Conservatory, institution in charge of censorship of dramatic works and lyrical to be staged in the theater houses of the court. Based on this analysis, it will be possible to identify the different expectations nourished by the period of the men's cultures when it came to the theatrical art, and especially the development of the national theater.
5
Moler, Lara Biasoli. "Da palavra ao silêncio: o teatro simbolista de Maurice Maeterlinck." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-08082007-155902/.
Full textAbstract:
Nos últimos anos do século XIX, o poeta, dramaturgo e ensaísta belga Maurice Maeterlinck (1862-1949) concretiza as aspirações teatrais do movimento simbolista com um conjunto de oito peças, escritas entre 1889 e 1894, que são testemunho não apenas de sua concepção dramática, mas também da própria evolução do teatro simbolista. Fundamentando-se nas limitações da comunicação verbal e na premissa de um silêncio eloqüente, Maeterlinck desenvolve um projeto de reformulação da linguagem dramática que, recentemente, tem sido apreciado do ponto de vista de sua contribuição para a formação do teatro moderno. Este trabalho tem como objetivo ilustrar o projeto de Maeterlinck por meio de uma apreciação de suas teorias teatrais e de exemplos selecionados de cada uma das oito peças que compõem sua produção simbolista.<br>At the end of the 19th century, the Belgian poet and playwright Maurice Maeterlinck (1862-1949) fulfills the dramatic aspirations of the Symbolist movement through a collection of eight plays, written between 1889 and 1894, which are witnesses not only to the author\'s theatrical conception, but to the symbolist theater evolution as well. Departing from the very limitations of verbal communication and from the conception of an eloquent silence, Maeterlinck develops a project that contemplates a thorough review of the dramatic dialogue, a project which has recently been associated to the making of modern drama. This study seeks to illustrate Maeterlinck`s dramatic project through an appreciation of his theories and examples from the plays which represent his Symbolist drama.
6
Paes, Luciana Lourenço 1984. "As representações de A morte de Ofélia na obra de Eugène Delacroix." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279594.
Full textAbstract:
Orientador: Cláudia Valladão de Mattos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-26T09:08:07Z (GMT). No. of bitstreams: 1
Paes_LucianaLourenco_M.pdf: 6480106 bytes, checksum: 311dc7804c3dc4fd9387ec6cc4c1d3bd (MD5)
Previous issue date: 2014<br>Resumo: A presente pesquisa tem como objetivo analisar as representações da morte de Ofélia na obra do pintor francês Eugène Delacroix (1798-1863), pensando sua relação com a tradição visual ligada à representação de Vênus e do suicídio feminino, com outras obras do artista e de seus contemporâneos, com a noção de "teatral" em pintura e com o contexto da pesquisa psiquiátrica na França na primeira metade do séc. XIX<br>Abstract: The present paper intends to analyze the representations of Ophelia¿s death in the production of the French painter Eugène Delacroix (1798-1863), reflecting on its relationship with the visual tradition of Venus and the feminine suicide, with other works by the artist and his contemporaries, with the notion of "theatrical" in painting and with the context of psychiatric research in the first half of nineteenth-century France<br>Mestrado<br>Historia da Arte<br>Mestra em História
7
Reese, Willén Anne. "I huvudstaden, musiklivets härd : Den strukturella omvandlingen av Stockholms offentliga konstmusikliv ca 1840-1890." Doctoral thesis, Uppsala universitet, Institutionen för musikvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-216903.
Full textAbstract:
This thesis studies the structural transformation of public musical life in Stockholm during the period 1840–1890, with focus primarily on the classical musical sphere. The study is based on qualitative and quantitative analysis of a number of different sources such as newspapers, music magazines, offprints, and other archival material. Using Jürgen Habermas’s theory of structural transformation of the public sphere as a starting point, the thesis aims to elucidate the processes within the structural transformation of Stockholm’s public musical life. In particular, this study examines processes of institutionalisation and professionalisation within four main areas of public musical life: the music press market, concert life, performers, and audiences. The actions of individuals and institutions are also studied in order to highlight the priorities and proclivities underlying the identified changes to public musical life. The period in question saw the transition of concert life from representational culture to the bourgeois public sphere, as well as the gradual division between ‘classical’ and ‘popular’ musical spheres. The study shows that public musical life emerged and expanded within the bourgeois public sphere. Therefore, the ideas and demands of the bourgeoisie were crucial to structural transformation of Stockholm’s public musical life. The old Royal institutions still constituted the core of the public musical life but were adapted to the new bourgeois society. The process of institutionalisation within the musical life was characterized by organisational functions, but also by social institutionalisation of practices within the four main areas mentioned above. The bourgeois ideas of musical Bildung played a significant role in the processes of institutionalisation and professionalization, as it illuminates the priorities and proclivities underlying this process. Several aspects of this development are related to influences from early nineteenth-century musical idealism. The structural transformation of public musical life in Stockholm during the period 1840–1890 laid the foundation for the further developments in the 20th century, and its impact is in some respects evident still today.
8
Carvalho, Danielle Crepaldi 1982. "Arte em tempos de "chirinola" : a proposta de renovação teatral de Coelho Netto (1897-1898)." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270221.
Full textAbstract:
Orientador: Orna Messer Levin<br>Acompanha 1 CD-ROM<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-14T12:21:36Z (GMT). No. of bitstreams: 1
Carvalho_DanielleCrepaldi_M.pdf: 8306817 bytes, checksum: 03d52e563169bdbc68987dd592f976fa (MD5)
Previous issue date: 2009<br>Resumo: Neste trabalho, analiso a produção teatral com que o literato Henrique Maximiniano Coelho Netto (1864-1934) - autor importante na virada do século XIX para o XX - inaugurou sua intervenção nos palcos cariocas, em especial o "poema dramático" Pelo Amor! (1897), o "episódio lírico" Ártemis e a "balada em prosa rítmica" Hóstia (1898). Através de tais obras, o literato almejava combater a crise que, segundo seu julgamento, o teatro enfrentava. Sua crítica era dirigida tanto às peças teatrais representadas nas casas de espetáculos comerciais do Rio de Janeiro quanto aos artistas que nelas atuavam. O repertório das companhias que estavam em cartaz na capital era composto, em sua maioria, pelos melodramas lacrimosos e especialmente pelas comédias musicadas - estas recebiam a contribuição dos gêneros musicais populares (a exemplo do lundu e do maxixe). As comédias musicadas exploravam as situações cômicas, algumas vezes fantasiosas, por meio de diálogos construídos, muitas vezes, sobre o duplo sentido das palavras. Além da ausência de qualidades artísticas, Netto considerava essas comédias musicadas licenciosas, já que invariavelmente assumiam uma conotação sexual, devido aos ditos ambíguos que utilizavam e às danças sensuais. Sendo assim, o literato propunha-se a conduzir uma regeneração nos palcos, apoiando-se, para isso, na tradição literária ocidental, da qual retirou os assuntos para a escrita desses dramas. E por acreditar que o elenco profissional não tinha condições intelectuais para levar à cena peças literárias, estimulou que fossem encenadas por um elenco amador composto pela elite econômica do Rio de Janeiro. Pelo Amor! trata da desolação de uma condessa escocesa frente à perda do esposo e o amor que nutre por ele, o qual engendrará o desfecho trágico de ambos. A atmosfera lúgubre que perdura no drama se reflete na música criada por Leopoldo Miguez, que, tendo sofrido visível influência do músico alemão Richard Wagner, criou temas musicais para as personagens principais e esboçou uma interação entre elas no plano musical. A iniciativa conquistou adeptos mas também recebeu críticas. O mesmo deu-se, no ano seguinte, quando da encenação de Ártemis (música de Alberto Nepomuceno) e Hóstia (música de Delgado de Carvalho), no ano seguinte. Na verdade, muitas foram as críticas, ora às peças, ora à relação entre o texto e a música, reação que, em grande medida, tangia o aspecto político. Ora, a imposição de um novo modelo artístico intentava gerar a reordenação do cenário artístico carioca e a exclusão de obras consagradas pelo público e também parte da crítica, como as óperas italianas, as comédias musicadas e os melodramas. Proponho-me, na presente dissertação, a analisar as três peças de Coelho Netto à luz da produção teatral e crítica da época e sobre a época, e daquilo que os literatos do Rio de Janeiro publicaram a respeito da movimentação cultural da cidade. Ocasionalmente, tal trabalho também irá se estender à partitura das obras, para que a relação entre texto e música seja melhor compreendida.<br>Abstract: In this work, I analyze the theater plays with which Henrique Maximiniano Coelho Netto (1864- 1934) - important Brazilian writer in the turn of the nineteenth century to the twentieth - started his interference in the stage of Rio de Janeiro, specially the "dramatic poem" Pelo Amor! (1897), the "lyric episode" Ártemis and the "ballad in rhythmic prose" Hóstia (1898). Through these plays, the writer claimed to defeat the crisis he believed the theatre was facing. His criticism aimed the plays presented in the commercial theaters of Rio de Janeiro and the actors and actresses that played them. Thecompanies' repertoire was restricted to almost only teary melodramas and specially musical comedies - the comedies had the contribution of popular music (for example, lundu and maxixe) and presented usually funny and sometimes fantastic situations, with dialogues that eventually leaned upon double senses. Beyond the lack of artistic qualities, Netto considered the musical comedies vicious, because of the sexual insinuation they implied through dialogues and music. Therefore, the writer intended to conduct a regeneration of the stage, using for that the occidental literary tradition, from where the subjects of these plays were chosen. And because he believed the professional artists lacked intellectual conditions to present literary plays, he gave his work to be put on stage by amateur groups that had the economic elite as members. Pelo Amor! presents the desolation of a Scottish countess because of the loss of her husband and the love that she devotes to his, which is responsible for the tragic ending of both. The grim atmosphere that remains in the drama reflects in the music created by Leopoldo Miguez, that had suffered visible influence of the German musician Richard Wagner, for Miguez creates musical themes for the leading characters and paints an interaction between them in the musical field. But the idea didn't have only adepts. The same happened with Ártemis (music by Alberto Nepomuceno) and Hóstia (music by Delgado de Carvalho), in the following year. In fact, many were the detractors of the texts and music of these plays, reaction that is largely related to political aspects, once the imposition of a new artistic model intended to cause the reorganization of Rio's artistic scenery and the exclusion of work of arts that were successful among the public and also part of the critic, like the Italian opera, the musical comedies and the melodramas. I intend to analyze these plays taking in consideration the theatrical and critical production of that time and of nowadays and what Rio's writers published related to the cultural activities of the capital. This work will also occasionally refer to the printed lyrics of the plays in order to understand the relation between text and music.<br>Mestrado<br>Literatura e Outras Produções Culturais<br>Mestre em Teoria e História Literária
9
Zaera, Isabel María. "Mujeres Sumisas, Mujeres Transgresoras en el Siglo XIX Español: una Aproximación a la Obra de Francisca Navarro y Joaquina García Balmaseda." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849614/.
Full textAbstract:
This research discusses the changing role of women in Spanish society during the nineteenth century through the works of Francisca Navarro and Joaquina Garcia Balmaseda. The thesis shows the break with the traditional image of the "angel del hogar" and the gradual incorporation of the social changes affecting women which were reflected in the female protagonists of the comedies written by such playwrights. By reading theoretical texts of the emerging feminist theory and through analysis of the main female characters, this study examines the changes regarding the established canon and its own evolution within the nineteenth century, from the works of a pioneer like Francisca Navarro in the first third of the century to those of Joaquina Gracia Balmaseda towards the end of it.
10
Paillet, Camille. "Déshabiller la danse : Les scènes de café-concert et de music-hall (Paris, 1864-1908)." Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2014.
Full textAbstract:
À mi-chemin entre un café, un jardin d’agrément, un bal et une scène théâtrale, les cafés-concerts et les music-halls représentent les divertissements les plus importants du XIXe siècle. Espaces spectaculaires qui accueillent des sociabilités hétérogènes et qui combinent une double fonction artistique et festive, l’identité socioculturelle de ces nouveaux loisirs s’est d’abord élaborée par opposition au statut du lieu d’art. Le postulat de la rareté des répertoires et des artistes issus des cafés-concerts et des music-halls dans l’historiographie des arts scéniques, et dans la transmission des savoirs en danse, nous a conduits à enquêter sur les raisons et les enjeux de cette mise à l’écart. « Lieux dangereux et vulgaires », « spectacles immoraux », « artistes insipides », sont les expressions symptomatiques d’une perception négative fondée sur un ensemble idéologique qui concourt à dessiner les contours d’une illégitimité culturelle. Une première étape de la recherche vise à analyser les principes de distinction sociale et de hiérarchisation artistique en œuvre dans le processus de délégitimation des cafés-concerts et des music-halls, en puisant dans les sources produites par les institutions en charge du contrôle des spectacles au XIXe siècle. Catégorisés en tant qu’objets populaires, les arguments déployés par les instances administratives et la police des théâtres révèlent en premier lieu le fondement d’une idéologie de classe, focalisée sur les origines prétendues populaires de ces divertissements. Entre le Second Empire et la Troisième République, l’histoire des cafés-concerts et des music-halls est traversée par un phénomène de féminisation qui bouleverse les pratiques et les représentations associées à ces espaces et participe à resémantiser leurs premières attributions sociales et symboliques. La seconde phase de ce travail s’intéresse aux effets d’un processus qui interagit sur les plans socioculturel, professionnel et symbolique par une présence féminine érotisée et qui tend à bâtir la catégorie du divertissement comme appartenant au genre féminin. Afin d’interroger les échanges entre altérités féminines et corporéités populaires sur les scènes des cafés-concerts et des music-halls durant la seconde moitié du XIXe siècle, la thèse mobilise deux catégories d’artistes féminines — les effeuilleuses et les danseuses de chahut-cancan — réunies autour d’un geste scénique et érotique commun : le déshabillage. L’étude de ce geste ouvre un troisième champ de questionnements sur les rapports entre l’érotique et l’illégitime dans les pratiques professionnelles de femmes qui exercent un métier artistique au sein d’un lieu spectaculaire à la fois déconsidéré et hautement érotisé. À travers les différentes étapes qui jalonnent cette recherche, la réflexion cherche à rendre compte de l’impact du déshabillage érotique sur la sensibilité d’une époque, sur le statut social des femmes, mais également sur les mouvements internes de professionnalisation des artistes de café-concert et de music-hall au XIXe siècle, et plus globalement, sur l’héritage historiographique de ces divertissements<br>Halfway between a café, a pleasure garden, a ball and a theatrical stage, café-concert and music hall are the main entertainment places in the 19th century. Spectacular spaces that welcome heterogeneous sociability and combine a dual artistic and festive function, the socio-cultural identity of these new leisure activities was first developed as opposed to the status of the art place. The postulate of the rarity of repertoires and artists from café-concert and music hall in the historiography of performing arts, and in the transmission of knowledge in dance, has led us to investigate the reasons of this exclusion and the issues at stake. "Dangerous and vulgar places", "immoral performances", "insipid artists", are symptomatic expressions of a negative perception based on an ideological set that contributes to drawing the contours of cultural illegitimacy. The first stage of the research consists in analysing the principles of social distinction and artistic hierarchy in the process of delegitimization of café-concert and music hall, based on the sources from the institutions responsible for controlling 19th century performances. Categorized as popular objects, the arguments put forward by the administrative authorities and the theatre police reveal first and foremost the basis of a class ideology, focused on the supposedly popular origins of these entertainments. Between the Second Empire and the Third Republic, the history of café-concert and music hall was marked by a phenomenon of feminization that disrupted the practices and representations associated with these places and helped to redefine their first social and symbolic attributions. The second stage of this work focuses on the effects of a process that interacts socioculturally, professionally and symbolically through an eroticized female presence, and that tends to build the entertainment category as belonging to the female gender. In order to question the exchanges between female otherness and popular corporealities on the stages of café-concert and music hall during the second half of the 19th century, the thesis focuses on two categories of female artists — the effeuilleuse (strippers) and the chahut-cancan dancers — gathered around a common scenic and erotic gesture: undressing
Books on the topic "19th century teatre"
1
1936-, Madrignani Carlo A., ed. Cultura, narrativa e teatro nell'età del positivismo. 2nd ed. Laterza, 1990.
Find full text
2
Acerboni, Giovanni. Cletto Arrighi e il Teatro Milanese (1869-1876). Bulzoni, 1998.
Find full text
5
Domenico, Pertocoli, and Museo centrale del Risorgimento (Rome, Italy), eds. Marc Chagall: Il teatro dei sogni. Mazzotta, 1999.
Find full text
9
aut, Aguer Teixidor Montserrat, and Puig Jordi fot, eds. The Dalí Theatre-Museum in Figueres. Triangle Postals, 2005.
Find full text
10
1941-, Green Michael D., ed. The Cherokee Nation and the Trail of Tears. Viking, 2007.
Find full textBook chapters on the topic "19th century teatre"
1
Biggi, Maria Ida. "I teatri a Venezia nel 1868." In Venezia 1868: l’anno di Ca’ Foscari. Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-294-9/005.
Full textAbstract:
In 1868 the theatrical context in Venice was affected by local abut also statal economic situation, due by the development of the new Italian State, formed after the Peace of Vienna that, signed on 23 October 1866, marked the end of the Third War of Independence and the annexation of Venice to the unitary state. Venice therefore became less important for theatrical production, and the city was no longer among the capitals of theatre and music, as it could have been considered until in the first half of 19th century. A new trend throughout Europe was moreover the ‘grand opera’, while in Venice the dominant show was still the traditional musical opera, in addition to opera and ‘opera buffa’, created by great Italian composers. The theatres active in 1868 in the city are La Fenice, Teatro San Benedetto then called Rossini, Teatro Apollo, Teatro Malibran and Teatro San Samuele. Through the reviews of the Gazzetta di Venezia and documents such as sketches of the scene made by famous set designers, that interesting moment is reconstructed.
2
Tronch Pérez, Jesús. "La edición de variantes didascálicas en el teatro inglés de la época de Shakespeare." In «Entra el editor y dice»: ecdótica y acotaciones teatrales (siglos XVI y XVII). Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-304-5/008.
Full textAbstract:
This essay describes how variants in stage directions and speech prefixes of early modern plays (between 1585 and 1642), have been treated in modern editions from the 19th century to the present. The analysed variants derive both from different (usually printed) witnesses and from a single manuscript witness when the stage directions and speech prefixes are altered by a hand different from the main manuscript hand. Prior to this description, the essay offers an overview of the editorial treatment of stage directions in general in English plays of the period.
3
Marcello, Elena. "Pietro Monti y el teatro del Siglo de Oro Estrategias de traducción del humor." In Biblioteca di Rassegna iberistica. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/018.
Full textAbstract:
This article deals with the humor translation in Italian through the analysis of two comedies by Calderón de la Barca. In the 19th century, Pietro Monti published several volumes with different plays of the Spanish Golden Age, among which are Amar después de la muerte and Casa con dos puertas malas es de guardar. This article focuses on two problem areas, language-specific and culture-specific jokes, and it analyses the strategies used for Italian translation, in particular, the forms of compensation and adaptation or cases of ‘untranslatability’.
4
Couderc, Christophe. "Las traducciones francesas del teatro español del Siglo de Oro (siglos XIX-XXI)." In Biblioteca di Rassegna iberistica. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/004.
Full textAbstract:
This article provides a description of translations and stage adaptations of Golden Age Spanish theatre from early 19th century to the present day. Fluctuations in taste, expectations and changing preferences of audiences, as well as the political context influenced the choice of which play was to be translated. Moreover, the degree of fidelity to the source text varies, as some are very faithful (written in verse, for example) while others are very free adaptations, and can be described as reinventions or rewritings rather than true translations. In spite of these infinite disparities between the texts considered, it is possible to detect a hierarchy that appears quite early between plays and Spanish authors, with Calderón playing a predominant role.
5
Kroll, Simon. "El teatro clásico español en Alemania Cuatro siglos y veinte años de recepción." In Biblioteca di Rassegna iberistica. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/005.
Full textAbstract:
This article seeks to give a first and comprehensive impression on the different stages of translations from Spanish Baroque theatre into German. While in the 17th and 18th centuries that contact is usually established through Dutch, Italian and French translations, it is at the beginning of the 19th century that key figures of the German Romanticism translate theatrical plays of the Spanish Baroque with a strong focus on formal aspects and philological accuracy. Nevertheless, this article shows that the first contacts between Golden Age theatre and Germany are much older than generally assumed and that the influence of Calderón and Lope on the creation of a German theatre tradition might be much stronger than it is commonly thought. Therefore, this article calls for a more profound study of the circulation of Spanish Golden Age theatre in Europe.
6
Obladen, Michael. "Technical inventions that enabled artificial infant feeding." In Oxford Textbook of the Newborn, edited by Michael Obladen. Oxford University Press, 2021. http://dx.doi.org/10.1093/med/9780198854807.003.0036.
Full textAbstract:
Artificial feeding of infants, called hand-feeding, was unsafe well into the 19th century. This chapter aims to identify technical innovations which made artificial feeding less dangerous. In rapid succession from 1844 to 1886, the vulcanization of rubber, production of rubber teats, cooling machines for large-scale ice production, techniques for milk pasteurization, evaporation and condensation, and packing in closed tins were invented or initiated. Remarkably, most of these inventions preceded the discovery of pathogenic bacteria. The producers of proprietary infant formula made immediate use of these innovations, whereas in the private household, artificial feeding remained highly dangerous—mostly because of ignorance about bacteria and hygiene, and partly because the equipment for safe storage, transport, preparation, and application of baby food was lacking.
7
Antonucci, Fausta. "La traducción del teatro áureo en Italia, desde el siglo XIX hasta nuestros días Constantes y variables en la formación de un canon." In Biblioteca di Rassegna iberistica. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/003.
Full textAbstract:
This essay aims to provide an overview of the Italian translations of Spanish Golden Age theatre from the 19th century to the present, identifying above all the differences in the approach to Spanish texts compared to previous centuries and the distinctive features of each historical-cultural period within this long span of time. Romantic translations (a period marked by the great collections of theatrical texts by Monti and La Cecilia) were characterised by their marked preference for religious and honour-based dramas and for the works of Calderón; while the 20th century saw a general reworking of the corpus of translated texts, with a stable presence of Calderón and the recovery of the dramas on peasant honour by Lope de Vega. The emergence and affirmation of the poetic translation is highlighted, from the early experiments of the 1920s to the general acceptance of our days, and the role hispanists and writers played in this choice. An analysis of the corpus of translation collections in the 20th and 21st centuries, as well as of the many individual translations, also shows how the canon of the Spanish Golden Age theatre has changed both on the academic and editorial side.