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Dissertations / Theses on the topic 'Operetta'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Replogle, Holley Dawn. "Crossover and spectacle in American operetta and the megamusical." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1914357521&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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2

Manera, Daniel Peter. "Functional Polystylism in Music Theatre: A Study in Contemporary Operetta." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17625.

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The advent of musical postmodernism in the second half of the twentieth century helped remove the distinctions between high and low art forms and in doing so, allowed for many new compositional approaches. One major avenue of approach is that presented by postmodern eclecticism, in particular, polystylism. Polystylism, specifically polystylist techniques that are used functionally within composition, offer a unified approach to the use of eclectic musical styles, irrespective of their cultural progeny. Similarly, the operetta format also straddles the eclectic realms of ‘high’ and ‘low’ culture, although the format’s use had diminished greatly by the 1960’s. The use of polystylism in other contemporary music theatre however, proliferated towards the end of the twentieth century and as such has enjoyed a comprehensive modern repertoire. This thesis and portfolio of creative work combines the functional elements of polystylism with the underutilised operetta format with a view to enhancing the form and in so doing, narrow the boundary between populist and art music theatre.
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3

Jorgensen, Michael R. "John Philip Sousa's operetta El capitan : a historical, analytical and performance guide." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/955086.

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This dissertation provides a guide to John Philip Sousa's operetta El Capitan through investigating its historical significance, compositional distinctives, and performance practice. Chapter one introduces the nature and scope of the work by presenting a statement of the problem, the need and significance for the study, and its delimitations.The historical section of this document traces the genesis and process of the actual composition of the work, including identifying pieces borrowed from other Sousa works as well as consideration of Sousa's sketchbooks and other sources for compositional techniques. This section also presents a synopsis and performance history of the operetta, as well as biographies of the composer, lyricist, librettist, and major stage performers.The second part of the dissertation explores Sousa's compositional techniques and how harmonic, melodic and rhythmic considerations advance the plot of the operetta and illuminate character motivation. A comparison is made between the original and published scores for discrepancies.The performance guide includes interviews with key personnel involved in the 1973 Minnesota Opera production of El Capitan. This section closes with an appraisal of the strengths, weaknesses, and potential for successful revival of the work.The appendices provide information on El Capitan in print and recording, the original libretto, copies of programs from significant productions of the operetta, a partial listing of performances of the work between 1970 and 1994, and a description of the roles by voice type. The appendix also includes a transcription of the stage directions found in a stage manager's guide to El Capitan located in the Tams-Witmark collection at the University of Wisconsin.
School of Music
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4

Mortimer, Harold R. "The silver operetta and the golden musical : the influence of the Viennese operetta of the Silver Age (1905-1935) on the Broadway musical of the Golden Age (1943-1964) /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11318.

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5

Clarke, Kevin. ""Im Himmel spielt auch schon die Jazzband" : Emmerich Kálmán und die transatlantische Operette : 1928 - 1932." Hamburg von Bockel, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015677874&linen̲umber=0001&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.

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6

McKay, Meaghan. "“Mighty maiden with a mission”: Navigating the Proto-Feminism of Gilbert and Sullivan’s Princess Ida." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38805.

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Gilbert and Sullivan’s operettas continue to enjoy popularity worldwide, in both amateur and professional settings. Their 1884 collaboration Princess Ida¸ however, remains a contested work regarding its representation of women and feminism. In this thesis, I argue that Gilbert and Sullivan were attempting to satirize men’s reactions to feminism, rather than feminism itself. This thesis situates Princess Ida within its Victorian social context to determine to what extent a proto-feminist interpretation of the operetta is valid. Princess Ida is based on, and a parody of, Tennyson’s The Princess (1847). Tracing the chronology of Ida’s story from its beginnings in Tennyson’s poem through to Gilbert and Sullivan’s operetta clarifies what Gilbert chose to satirize in his libretto. Victorian masculinity emerges as a central theme in Princess Ida, and the complexities of Gilbert and Sullivan’s representations of men in their operetta informs my discussion of proto-feminism. This thesis historically contextualizes Princess Ida and examines the operetta through the lens of feminist critiques of Western art music.
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7

Watkins, Lillian Casey. "Die Fledermaus: Or How I Learned to Stop Worrying and Love the Trim." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1528.

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AN ABSTRACT OF THE THESIS OF Lillian Casey Watkins, for the Masters in Fine Arts degree in Theater, presented on May 2, 2014, at Southern Illinois University Carbondale. TITLE: DIE FLEDERMAUS: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE TRIM MAJOR PROFESSOR: Wendi Zea In February of 2014, the School of Music and the Department of Theater at Southern Illinois University presented a production of the operetta Die Fledermaus. This thesis is a presentation of the process and final product of the costume design of that production. Die Fledermaus exhibits the best of carnival escapism, with daring disguises, topsy turvy scenarios, opulent scenes and extravagant use of alcohol. This design project was an attempt at capturing that escapism and expressing it through costuming, paying particular attention to detail and trim and actor movement and dance, creating the bubbly, champagne-filled fantasy that is Die Fledermaus. Chapter 1 contains research and analysis of the script, including information about the composer, cultural and historical occurrences that inform the script and previous production history and critical analysis. Chapter 2 focuses on analysis of the characters and their relationships, and how those inform the design of their costumes. The goals that I wished to accomplish with the design and production of the show are covered within Chapter 3. Chapter 4 documents my design process, leading to Chapters 5 and 6, which document the build and production processes, respectively. Chapter 7 is an analysis of the full process and production itself, in regards to the fulfillment of the aforementioned goals. The appendices contain renderings, research, production paperwork and photos.
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8

Winstead, Julia. "FOOD FOR JOYOUS LAUGHTER: CONTEMPORARY PRODUCTIONS OF GILBERT & SULLIVAN'S THE PIRATES OF PENZANCE." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3125.

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The operetta, The Pirates of Penzance, is a classic work by Gilbert and Sullivan, a work that continues to be produced frequently despite its Victorian setting and operatic style. For many years the standard performance style of all the operettas by Gilbert and Sullivan was upheld by the D'Oyly Carte Opera Company, who attempted to perform the operettas as they had originally been done. Though the D'Oyly Carte Opera Company helped stimulate interest in the works of Gilbert and Sullivan, nontraditional productions of G & S operettas produced outside of the company were able to reach larger audiences. When The Pirates of Penzance was produced on Broadway in the 1980's, it was enormously successful. Under the direction of Wilford Leach, the production was more accessible to audiences through its pop-oriented orchestrations, Broadway-style choreography, and cast of rock stars and well-known actors. This significant change in the way The Pirates of Penzance was performed inspired several other major productions of the operetta in that style and has now become the standard interpretation of the piece. It is due to these productions that The Pirates of Penzance continues to be produced and remain culturally relevant. It is interesting to note that, while the performance style of Pirates has changed significantly over the years, the role of Mabel has remained largely unchanged. In that regard, the role of Mabel continues to fulfill the goals and tradition of D'Oyly Carte while The Pirates of Penzance has evolved from an old-fashioned operetta to a popular musical theatre piece.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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9

Polianovskaia, Jana. "The English Operetta and the Musical Comedy as a Reflection of the Russian Anglomania at the End of the 19th Century." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71972.

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10

Schröder, Gesine. "Eine Operette für Kinder von Johann Adam Hiller." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-71950.

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Die 1778 gedruckte Operette "Die kleine Aehrenleserinn" von Johann Adam Hiller bildete bei einem Instrumentationprojekt an der Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig die Vorlage. Exemplarisch wird von den bei dem Projekt gemachten praktischen und ästhetischen Erfahrungen berichtet.
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11

Mariano, Maira. "Um resgate do teatro nacional: o teatro brasileiro nas revistas de São Paulo (1901-1922)." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-03082009-164635/.

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O objetivo deste trabalho é apresentar um estudo, de cunho histórico e crítico, sobre o teatro brasileiro, a partir de pesquisa realizada nos periódicos da cidade de São Paulo do período de 1901 a 1922. Com base nos dados colhidos, como notícias e críticas de teatro, buscou-se analisar a atividade teatral desse início de século, e repensar suas contribuições, seu papel social, e aparente estagnação - tão divulgada por intelectuais à época. O estudo interpretativo encontra-se no volume I. No volume II há um índice dos periódicos consultados, contendo uma síntese dos temas relativos ao teatro, abordados por escritores e intelectuais desse período.
The objective of this work is to present a study, of historical and critical matrix, on the Brazilian theater, from inquiry carried out in the magazines of the city of Sao Paulo. On basis of the gathered data, like news and criticism of theater, it was carry out analyze of the theatrical activity of this beginning of century, and rethought its contributions, social paper, and apparent stagnation - so spread by intellectuals. The interpretative study is presented in the volume I. In the volume II there is a rate of the consulted magazines, containing a synthesis of the relative subjects to the theater, boarded by writers and intellectuals of this period.
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12

Moreland, Kathleen A. "Of Thee We Sing: Roots of the American Songbook." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428148686.

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13

Roberts, Jennifer N. "Cacophony." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395329715.

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14

Nylander, Benjamin Thomas. "Nuclear." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1616242046479106.

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15

Hanfová, Marta. "Současná opereta ( Vídeň, Praha )." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79449.

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In this work I put mind to the history and the develompment of the operetta. I introdukce the important composers of this genre and one smaller chapter has been devoted to the Czech operetta composer Oskar Nedbal. The next part of my work has been focused on the Music Theatre in Karlín and the Theatre in Volksoper in Vienna. I describe my own spectator´s experience with the operetta to compare the Czech and Vienesse operetta in today´s production. At the end of my work I analyze my interpretative experience with this artistic genres.
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16

Benešová, Zuzana. "Opereta v Hudebním divadle Karlín." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202884.

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The fundamental topic of my thesis is operetta in the Karlin Musical Theatre. In the first part of the thesis I inquire into the development of the genre itself. The next chapter is dedicated to famous Czech and international authors of the most renowned operetta works. I have dedicated an especial space to the operetta of Mam'zelle Nitouche as one of the most successful foreign operettas in our country. It is followed by an overview of light opera houses, mainly in Prague, that are in operation since the 18th century. I also inquire into the development of the Karlin Musical Theatre and its changes. I my thesis prominent figures in the management of the theatre as well as performing stars are featured. I give a short account of their artistic lives and their contribution to the genre of operetta in Karlin Musical Theatre. My work is concluded by the interviews with influential members of the ensemble of the theatre.
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17

Girod, Pierre. "Les Mutations du ténor romantique : contribution à une histoire du chant français à l'époque de Gilbert Duprez (1837-1871)." Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20024/document.

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Sans limiter notre propos aux seules voix masculines aiguës, il s'agit ici de refléter l'importance historique de l'évolution de la voix de ténor dans les mutations du goût et de la vocalité lyrique en France au cours du deuxième tiers du XIXe siècle. Aborder l'opéra, l'opéra-comique et les morceaux de salon via leurs interprètes permet d'insister sur la dimension théâtrale, vocale et oratoire de ces genres. En vue de définir les caractéristiques techniques du chant français, la thèse exploite largement les jugements portés par les artistes entre eux. Ces jugements sont notamment livrés par les méthodes et les mémoires imprimées, les archives du Conservatoire et les correspondances. Pour envisager les conditions pratiques des exécutions vocales, nous avons procédé à une étude des situations, des contraintes et des attentes des chanteurs comme des auditeurs, en fonction des lieux et des répertoires abordés. Afin de mieux appréhender les qualificatifs employés par les musicographes rendant compte des prestations publiques, on a mis en relation le lexique des traités avec les premiers enregistrements sonores. La meilleure connaissance des codes de la tradition permet en outre d'envisager avec une pertinence accrue la cohérence des divers paramètres concourant à la juste interprétation scénique et musicale. La réinvention d'après les sources d'un savoir-faire répond d'ailleurs à une attente croissante des programmateurs et des interprètes pour renouveler leur approche d'un répertoire ou redécouvrir une part du romantisme français oublié (www.lesfrivolitesparisiennes.com)
Looking at opera, opéra-comique and salon music through the eyes of the first performers stresses the histrionic and vocal dimension of their art. Thus, this dissertation drives from the mutual appraisals of artists, which can be found in treaties, memoirs, archives of the Paris Conservatoire, letters, etc. The vocabulary used to describe singing in the 19th-century has been linked to 78rpm records and cylinder recordings. The relative focus on high-pitched male voices is only relevant because changes in the general taste for opera voices were mainly triggered by leading tenors during the romantic era. The impact of various locations and repertory on the audience's expectations was studied in order to define the aesthetic and social frame of vocal performance. Reinventing the practical know-how from the sources actually meets the growing expectations of both schedulers and singers who want to renew the approach of the so-called "romantic" French repertory - which currently goes widely unknown and unsung. A better understanding of tradition allows for more consistent historically informed performances (www.lesfrivolitesparisiennes.com)
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Bár, Pavel. "Od operety k muzikálu." Doctoral thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-178083.

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Dissertation thesis describes the evolution of popular musical theatre ? especially operetta and musical ? in Czechoslovakia after 1945. It analyses particular productions, follows important development periods of this kind of theatre as well as changes of attitude of communistic regime to its existence and artistic expressions ? not only in the overall context of changes in the theatre system or social and political situation in the country but also in the context of development abroad. Study mainly deals with events in major popular musical theatres (especially in the Karlín Musical Theatre in Prague) but it doesn´t neglect major productions of small or regional scenes. Dissertation proceeds both from existing literature and authentic historical sources, evidence and memories.
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19

Fernandes, Adriana. "O balanço de Chiquinha Gonzaga : do carnaval a opereta." [s.n.], 1995. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284200.

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Acompanha anexos: Analises musicais e documentos
Orientador: Neyde de C. Veneziano Monteiro
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-20T21:31:15Z (GMT). No. of bitstreams: 1 Fernandes_Adriana_M.pdf: 20458019 bytes, checksum: f2600707ce703c10f428354cd4cce6dc (MD5) Previous issue date: 1995
Resumo: Em Campinas - SP, várias Folias de Reis circulam pelos bairros da periferia nos finais de semana de dezembro e janeiro. Essas Folias são formadas por migrantes rurais que chegaram no município a partir dos anos 60, atraídos pelas oportunidades de trabalho oferecidas pela instalação de um complexo industrial. Os deslocamentos dessas populações não esfacelaram essa "tradição", pois, apesar da dispersão no espaço urbano, foram restabelecidas relações sociais entre pessoas, muitas vezes originárias de diferentes lugares do país, as quais compartilham memórias que sustentam tais práticas. Os saberes rituais sobre as Folias de Reis até recentemente foram transmitidos de forma oral. Atualmente, porém, esses grupos têm acesso à equipamentos tecnológicos que permitem registrar parcelas de sua memória em suporte material, como fitas de vídeo e fotografias. Essa aquisição gerou uma expansão da memória coletiva dos grupos de Folia, com a criação de uma ampla rede de circulação de imagens - fotográficas e videográficas - de suas vivências presentes e passadas que possam servir como referência para as gerações futuras. Delimitou-se para esta pesquisa o estudo em quatro grupos com diferentes características sócio-culturais, e desenvolveu-se uma metodologia de associação de depoimentos orais às imagens, a partir da seleção de 70 fotografias e 12 fitas de vídeo, pelos seus produtores, que possibilitasse afirmar que essa recriação é permeada por intenções e escolhas. Foi possível o entendimento das diferenças concernentes a cada grupo, da construção de suas trajetórias, e ao mesmo tempo a localização de elementos "invariáveis" que permitiram a compreensão de um sentimento mais amplo de identidade, fundado na memória comum de ser folião de Reis, de ter compartilhado um passado de expulsão, uma vivência da migração e a expectativa de vir a ter um lugar. Os procedimentos metodológicos adotados culminaram na construção de um texto em que fotografias produzidas pelos foliões e transcrições dos depoimentos orais entrelaçam-se ao discurso da pesquisadora, apontando aspectos ignorados da cultura da periferia da cidade e a importância adquirida pelo registro imagético no processo de recriação da tradição
Abstract: Not informed.
Mestrado
Mestre em Artes
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20

Patocka, Ralph-Günther. "Operette als Moraltheater : Jacques Offenbachs Libretti zwischen Sittenschule und Sittenverderbnis /." Tübingen : M. Niemeyer, 2002. http://catalogue.bnf.fr/ark:/12148/cb38911975v.

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21

Hulme, David Russell. "The operettas of Sir Arthur Sullivan : a study of available autograph full scores." Thesis, Aberystwyth University, 1986. http://hdl.handle.net/2160/60676c74-1687-41a1-8111-15c138574c1a.

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Although a good deal has been written about Sullivan and his operettas - and in particular those in which he collaborated with the librettist W.S. Gilbert - very little scholarly attention has been turned towards the musical texts. The situation has been made difficult not only by the wide dispersal of the autograph full scores, but also by the fact that some are no longer extant, whilst a number are not openly available for research. Having largely overcome the problem of accessibility, the dissertation examines the autograph full scores of all Sullivan's operettas except "The Rose of Persia", "Thespis" and "Utopia Limited" (the latter two of which are apparently no longer extant). In addition, numerous other important sources are considered, in particular authoritative nineteenth century vocal scores and full scores, authoritative literary texts, and currently available band parts and vocal scores. As a result a considerable amount of information is brought to light concerning the composer's working methods, his creative role in the structure of the operettas and the textual evolution of the works. The posthumous influence which the D'Oyly Carte Opera Company has had on currently performed texts is also considered. The dissertation contains a large number of music examples, giving transcriptions of material which has never been published. Much of the significant "lost" music to be found in the autograph scores is included as well as a good deal from other sources. Most operettas yield material which has remained unpublished; in the case of "Ruddigore" and "The Yeomen of the Guard" the quantity is substantial. The dissertation reveals that the standard musical texts used in Britain for many of the operettas differ, sometimes considerably, from what Sullivan is known to have written. It also disturbs established notions concerning the literary texts, and especially the form these took at the first performances.
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22

Linhardt, Marion. "Inszenierung der Frau - Frau in der Inszenierung : Operette in Wien zwischen 1865 und 1900 /." Tutzing : H. Schneider, 1997. http://catalogue.bnf.fr/ark:/12148/cb36965371j.

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23

Olausson, Axel, and Niclas Prahl. "Ett batterihybridfartygs driftsmöjligheter : Hur Coey Viking bör operera." Thesis, Linnéuniversitetet, Sjöfartshögskolan (SJÖ), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103758.

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Syftet med arbetet var att undersöka hur ett nyproducerat batterihybridfartyg av PSV-typ (plattform supply vessel) bör operera för att uppnå en så energieffektiv drift som möjligt utan att äventyra säkerhet eller redundanskrav. Att framföra ett fartyg så energieffektivt som möjligt är något som är av hög prioritet till sjöss, dels ur ett ekonomiskt perspektiv men även ur miljösynpunkt, då sjöfartsbranschen ständigt arbetar för en minskad miljöpåverkan. Även nyproducerade fartyg, byggda med modern teknik som ger goda förutsättningar för en energieffektiv drift ställer stora krav på att det tydligt framgår hur fartyget ska framföras för att nyttja fartygets fulla potential och uppnå optimal drift. För att ta fram procedurer över hur fartygen bör operera har loggade och teoretiska data från fartyget Coey Viking sammanställts, och presenteras i samråd med Viking Supply Ships. Resultatet innefattar generatorkombinationers specifika bränsleförbrukning, lågtrycks-dual-fuel-motorers generella miljöpåverkan med avseende på metanslip och fartygets loggade effektförbrukning till kaj. Resultatet visade att hög generatorlast resulterade i optimal specifik bränsleförbrukningen, att låga generatorlaster genererade stort metanslip samt att en förändrad elkraftstyrning tillsammans med fartygets energilagring möjliggör en förbättrad drift till kaj med en minskad miljöpåverkan. Arbetet öppnar upp för vidare forskning inom optimal peak-shaving-effekt, hur energilagringens storlek påverkar driftsmöjligheter och hur peak-shaving till kaj på ett stabilt sätt reglertekniskt bör styras.
The purpose of this undertaking was to investigate a new built battery-hybrid-vessel of PSV-type (platform supply vessel) and its operational ability to achieve the most energy efficient operation without jeopardizing safety or redundancy. The energy efficient operation of a vessel is of great priority in the maritime industry, not only because of economical profit but also based on environmental perspective, since the maritime industry is constantly aiming towards a decreased environmental impact. Newly built vessels containing modern technology opens up great opportunity in achieving energy efficient operation, though it sets high standard regarding correct operation of the vessel to use its full potential and achieve optimal running. To be able to present procedures regarding the vessel’s operation, logged and theoretical data from the vessel Coey Viking has been compiled and is presented in consultation with Viking Supply Ships. The results refered to different generator combination’s specific fuel consumption, the general environmental impact of low pressure dual fuel engines with respect to methane slip and the vessel’s logged power consumption in port.  The result indicated that a high generator load resulted in optimal specific fuel consumption, while low generator loads resulted in poor specific fuel consumption together with an increase in methane slip. The result also showed that the vessel’s energy storage together with a change in the PMS-system (Power Management System) would enable an improved power supply in port with shore connection. The paper raises questions to be answered in further research regarding optimal peak-shaving effect, what impact the size of the energy storage would have on operational capability and how peak shaving in port with shore connection appropriately should be regulated.
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Pacheco, Estefan Jorge Luis. "La conciencia híbrida : propuestas para una dramaturgia musical en Chile hoy." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/152961.

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Magíster en artes con mención en composición musical
Hoy en día, en el ámbito de la música escrita, existe un consenso más o menos universal en torno al hecho de que los compositores deben ser capaces de explicar los fundamentos de su trabajo creativo. Esta necesidad de autoexplicación, que se vuelve exigencia en el contexto académico, se refleja también en todos aquellos auditores que antes de escuchar una obra musical se detienen a leer el obligado comentario del compositor acerca de su trabajo disponible en el programa de mano de la mayoría de los conciertos de música actual. El hecho de que a nadie se le ocurriría menospreciar a Ludwig van Beethoven por no habernos dejado una detallada explicación de su Novena Sinfonía nos habla de un cambio de paradigma en la estética musical que se relaciona también, de manera más general, con un cambio en el lugar del individuo dentro la sociedad occidental. Efectivamente, más allá de las razones que explican esta tendencia en el caso particular de la música (ciertamente relacionadas con el abandono de la armonía tonal como lenguaje universal y la consecuente necesidad de cada compositor de encontrar un discurso teórico que valide su propuesta creativa) es posible establecer un paralelo entre la práctica de la auto-explicación estética y uno de los grandes temas de la filosofía occidental desde Hegel: aquél de la auto-conciencia Así, podemos afirmar que este fenómeno no constituye una excepción, si no más bien la regla dentro de un contexto social que ha puesto a la libertad individual – esto es la libertad de decidir libremente los propios gustos, aficiones, y maneras de expresarse – por sobre los grandes relatos comunitarios. En ese sentido, es interesante señalar que la necesidad de auto-explicación se presenta también en otros medios de expresión como las artes visuales, el teatro o la danza, pero no en aquellos que guardan una relación más directa con el público masivo, como el cine, la literatura, el teatro, e incluso la música comercial, donde impera la rentabilidad como parámetro de calidad. La necesidad de auto-explicación parece por lo tanto estar reservada para lo que se considera hoy como “Arte” con mayúscula. Podría decirse incluso que el ejercicio de la auto-conciencia constituye la conditio sine qua non del arte en la actualidad; un punto de partida, una página en blanco, uno de los fundamentos y tal vez una de las razones del impulso creativo. Así las cosas, más vale enfrentarlo de una vez por todas y desde el comienzo. Surgen de esa forma, y de manera urgente, las siguientes preguntas preliminares: ¿Por qué componer? ¿Para quién? ¿De qué manera? A partir de la noción filosófica de la autoconciencia, intentaremos dar respuesta a estas interrogantes y entregar a través de ellas una definición personal de la obra de arte y sus necesidades. Así, surgirán dos características fundamentales de la obra de arte que serán la hoja de ruta de nuestra reflexión posterior: su inevitable contingencia y su problemática relación con el auditor.
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Olšovský, Lumír. "Přístupy a možnosti inscenování zábavněhudebního divadla v současných českých podmínkách." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-252285.

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This Master's thesis addresses the process of staging musicals and operettas within the Czech theatre?s environment. As an example, the author chose five different titles for comparison and description of the process of preparation of this specific kind of musical theatre focusing on various options for theatre companies, discussing the demands and difficulties of assembling teams of artistic collaborators and the creative process itself during rehearsals. Processes concerned with the first grasp of a title as a dramatic text, through the spatial solutions of a dramatic situation in terms of stage space in a theatre, up to the director-actor collaboration, are documented by authentic findings, which are compared with notes of directors, who significantly influenced the author's view. The text also considers the specific demands of this kind of theatre on the actor (actress) and his (her) education and training
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Bellizzi, Aretina. "Platone, l'antagonista. Tracce della presenza e forme della rielaborazione di Platone nell'opera di Giacomo Leopardi." Doctoral thesis, Università degli studi di Trento, 2022. http://hdl.handle.net/11572/337962.

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The work aims at investigating the presence of Plato in Giacomo Leopardi’s works, in order to understand the influence of the philosopher’s dialogues on the genesis of the “Operette morali”. While maintaining the focus on the “Operette”, however, the research also explores many other areas of Leopardi’s production, in order to offer the widest and most exhaustive overview of the different sources and filters through which Leopardi became acquainted with Plato’s doctrines, even before reading his dialogues comprehensively. The first section explores the reception of Plato in Italy before Leopardi, by examining the attempts at translating his works and the various interpretations of his dialogues proposed throughout the eighteenth century up to the first decade of the nineteenth century. If placed in this context, the failure of Leopardi’s project to translate all of Plato’s dialogues, as proposed by the publisher De Romanis, can no longer be interpreted just as the result of a private matter, but also as a stage in a historical path that has never been outlined in its entirety until now. The rest of the work, articulated in other three sections, is entirely dedicated to Giacomo Leopardi’s work.Firstly, the thesis focuses on Leopardi’s earliest production, mapping the occurrences of the name “Plato”, as well as all the quotes either related to the philosopher or taken from his dialogues, in Leopardi’s “Puerilia” (1809-1810), “Dissertazioni filosofiche” (1811-1812), “Dialogo filosofico” (1812), “Storia dell’Astronomia” (1813) and, finally, in his “Saggio sopra errori popolari degli antichi” (1815). Research shows that Leopardi had been reading Ficino’s edition of Plato’s complete works (Lugduni, 1590) (which was present in the family library) since writing the first drafts of his erudite writings; therefore, Leopardi’s direct knowledge of Plato’s texts, even if partial, must be backdated compared to what has been noted so far. Furthermore, extending the research on Leopardi’s knowledge of Plato not only to his first stay in Rome but also to the following years confirms that it’s not possible to have Leopardi’s Plato coincide with Ast’s Plato: there is evidence of the fact that Leopardi knew and had read or consulted several other editions of Plato’s dialogues and that therefore his knowledge of the philosopher was quite extensive, although conditioned by different interpretative perspectives. The research then focuses on the “Zibaldone” and on the “Operette” in order to reconstruct the profile of Leopardi’s Plato, as it emerges from the “scartafaccio”, as well as the methods of re-elaboration of the dialogues found within Leopardi’s moral book. The last two chapters of the thesis are dedicated to the latter objective. Starting from an analysis of the genesis of only two operettas, the “Elogio degli uccelli “ and the “Dialogo di Plotino e di Porfirio”, the aim is to demonstrate how the “Plato function” is expressed not only through form, as critics have long believed, but also in terms of philosophical elaboration. This study ultimately proves that Plato, acting both as a model and an anti-model for the “Operette morali”, had a profound effect on the genesis of this book which, according to Leopardi’s own declaration, was intended to be “entirely philosophical and metaphysical”.
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Boehlich, Sabrina. "Das Kohan-Archiv für Jiddische Musik an der Universität Potsdam : Jiddische Lieder, Klezmermusik, Ladinolieder, Operette, Theater und vieles mehr." Universität Potsdam, 2003. http://opus.kobv.de/ubp/volltexte/2008/2365/.

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Rooth, Johanna, and Karin Staland. "Kvinnors upplevelser av att operera bort ett bröst vid bröstcancer : En litteraturstudie." Thesis, Örebro universitet, Hälsoakademin, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-15790.

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Burén, Elin, and Hanna Johansson. "Att operera bort livmodern i fertil ålder : en litteraturstudie om kvinnors erfarenheter." Thesis, Högskolan Kristianstad, Avdelningen för sjuksköterskeutbildningarna och integrerad hälsovetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-18053.

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Bakgrund: En hysterektomi innebär att kvinnans livmoder opereras bort. Indikationer är exempelvis stora blödningar och cancer. Kvinnan befinner sig i fertil ålder från det att hon fått sin första menstruation till den upphör. Operationen medför att kvinnan inte längre är fertil. Efter operationen är kvinnan inlagd på sjukhuset där sjuksköterskan har ansvaret för omvårdnaden och efter någon dag får hon åka hem. Sjuksköterskor kan möta kvinnor som genomgått en hysterektomi i sitt arbete, därför kan de vara viktigt att ha kunskap om deras erfarenheter. Syfte: Att belysa erfarenheter efter en hysterektomi hos kvinnor i fertil ålder. Metod: En allmän litteraturöversikt, med strukturerade blocksökningar i tre databaser som bygger på tio vetenskapliga artiklar. Resultat: Ur analysen identifierades sex kategorier: “en förlust av kvinnligheten”, “en förlust över att inte längre vara fertil”, “trauma efter en akut genomförd operation”, “förbättrat välmående efter upphörda symtom”, “acceptans av operationens förändring av livet” och “tacksamma över livet och personalens hjälp”. Diskussion: Metoden diskuteras utifrån tillförlitlighet, verifierbarhet, pålitlighet och överförbarhet. De centrala fynden “en förlust av kvinnligheten” och “en förlust av fertiliteten” påvisar lidande vilket kopplas till en lidandeteori. “Tacksamhet över personalens hjälp” kopplas till teorin om caring-uncaring. Mer forskning och utbildning inom ämnet behövs för att patientgruppen ska mötas med kunskap och professionalitet.
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Gomes, Luísa Fonte. "A Opereta em Portugal na viragem do século XIX para o século XX: Tição Negro de Augusto Machado (1902)." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2012. http://hdl.handle.net/10362/7903.

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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, variante de Musicologia Histórica
A partir do final da década de 1860, com a estreia das obras de Jacques Offenbach, a opereta obteve um significativo sucesso em Portugal. A apropriação deste género pelos dramaturgos e compositores portugueses, até ao final do século XIX, revela a predominância de adaptações e traduções de originais franceses mas é também importante estudar os originais produzidos localmente. Esta dissertação parte do final do século XIX, aquando da criação em Lisboa de alguns novos teatros secundários, como o Teatro da Avenida, situado na nova artéria da cidade – a avenida da Liberdade – e enquadrado no seu novo espaço de sociabilidade. A confluência de um período histórico marcado pelo Ultimatum de 1890 e por uma fase conturbada política e socialmente, em virtude da decadência do regime monárquico, levou a uma exaltação patriótica que se traduziu na comemoração de um conjunto de efemérides de datas marcantes da história de Portugal. Em 1902, a estreia de Tição Negro, do compositor Augusto Machado (1845-1924) e do dramaturgo Henrique Lopes de Mendonça (1856-1931), no Teatro da Avenida, envolveu diversas personalidades que, num círculo de intelectuais activos na cena teatral portuguesa, demonstraram um interesse pela renovação do teatro português antecipando a comemoração do IV Centenário de Gil Vicente. No primeiro capítulo é elaborado um enquadramento dos teatros de Lisboa na e traçado um perfil do Teatro da Avenida, no início do século XX, cuja actividade, considerada periférica nos primeiros anos após a sua edificação em 1888, se tornara central à dinâmica da vida teatral da cidade. O segundo capítulo trata a efeméride do IV Centenário de Gil Vicente (1902) com o movimento de recuperação das origens do teatro nacional, e introduz a farsa lírica Tição Negro, elaborada a partir de temas e personagens vicentinos. Estudar-se-á também a Companhia Sousa Bastos e o perfil da actriz Palmira Bastos que desempenhou o papel de Cecília, a padeirinha. Por último, o terceiro capítulo pretende analisar as estratégias e modelos de comicidade presentes na obra, assim como, elaborar uma análise dramatúrgica e musical reflectindo sobre as tipologias e modelos utilizados na concepção desta opereta.
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Bidmeshki, Saeideh, and Hadil Galeb. "Kvinnors upplevelser och uppfattningar av att operera bort sin livmoder : En allmän litteraturöversikt." Thesis, Uppsala universitet, Institutionen för folkhälso- och vårdvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-430147.

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ABSTRACT  Background: Hysterectomy is a surgical procedure involving the removal of the uterus. About every tenth woman in Sweden undergoes this surgical treatment. Hysterectomy is performed due to various causes such as endometriosis, fibroids, prolapse or bleeding disorders. Additionally, it can also be a life-saving measure in acute labour complications. Hysterectomy can be planned or acute. With increased knowledge and understanding of women's experiences and perceptions of hysterectomy, nurses can approach these women in a more person-centred way and thus promote their health and well-being.   Purpose: To shed light on women's experiences and perceptions of undergoing hysterectomy.   Method: A general literature review based on nine qualitative articles. The articles were found via the PubMed and CINAHL databases; their quality was assessed according to SBU's review template, and their content was analysed with manifest content analysis.   Results: Three categories related to undergoing hysterectomy were identified: an altered body, the importance of support and information, and altered sexual and reproductive health. Women's experiences and perceptions of undergoing hysterectomy touched on both positive and negative aspects.   Conclusion: Many women who undergo a hysterectomy have varied perceptions of it. The loss of the uterus often leads to changes in women's body image, social life and sexual and reproductive health. Women who received thorough information before the surgery experienced increased satisfaction with their care and increased patient participation. KASAM is a useful theory for analysing women's health and well-being during a hysterectomy. The results of the literature review can contribute to increased understanding of how the absence of the uterus can affect a woman.
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Seeley, Paul David. "Franz Lehár : aspects of his life with a critical survey of his operettas and the work of his Jewish librettists." Thesis, University of Liverpool, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400386.

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Zandieh, Zahra. "Att operera bort en kultur? : En tematisk diskursanalys av samtida medicinska dokument om cochleaimplantat i Sverige." Thesis, Stockholm University, Department of Sociology, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-42243.

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Dövhet definieras olika inom olika discipliner. Enligt det medicinska perspektivet är dövhet en avvikelse som bör behandlas, medan det kulturella perspektivet ser döva som en språklig och kulturell minoritet. I Sverige har döva länge kämpat för att få teckenspråket erkänt som språk, undervisning på teckenspråk och rätt till fri tolkservice. I och med att detta erkänts som rättigheter har Sverige länge ansetts ligga i spetsen gällande dövas rättigheter. Samtidigt opereras så gott som alla döva barn i Sverige med cochleaimplantat som gör det möjligt att uppfatta ljud. Med anledning av cochleaimplantatets utbredning har jag valt att analysera tre medicinska dokuments framställning av cochleaimplantat och dövhet med hjälp av teman hämtade från Foucault, Faircloughs kritiska diskursanalys och Boréus begrepp om diskursiv diskriminering och social praktik. Jag har utgått från att diskriminering av dövas kulturella perspektiv förekommer i dessa dokument och har därför haft som ambition att undersöka hur. Mitt syfte har varit tvådelat, då jag dels valt att undersöka hur diskursen växt fram genom en grundlig litteraturgenomgång, och dels hur den kommer till uttryck i tre samtida medicinska dokument. I litteraturgenomgången går jag igenom dövas historia och tidigare forskning om diskursiv diskriminering av döva. Jag går också igenom bakgrunden till cochleaimplantatets utbredning och olika sätt att se på det.

Jag har analyserat tre texter, varav en kan sägas vara riktad internt inom det medicinska fältet och två även till en bredare publik av lekmän. I alla tre texterna beskrivs dövhet som "funktionsnedsättning" och sammankopplas med sämre "livskvalitet", "lidande" och sämre "språkförståelse". Cochleaimplantatet framställs som en väg till bättre livskvalitet och språkförståelse. Däremot skiljer sig texterna åt i synen på teckenspråk. I en av texterna som riktar sig till en publik utanför den medicinska expertisen presenteras teckenspråk som en "rättighet", medan det i texten som är riktad mer internt presenteras som något en person är "beroende" av. Mina generella slutsatser är att de ideologiska, sociala och politiska konsekvenserna av diskursen om cochleaimplantat är att reproduceringen av dövkultur försvåras, handikappstämpeln uppmuntras och risken för att hamna mellan två kulturer ökar.

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Hyrla, Ya V. "Ultrasonography as a method of diagnosis of vocal mobility disorders in patients opereted with different forms of goiter." Thesis, БДМУ, 2022. http://dspace.bsmu.edu.ua:8080/xmlui/handle/123456789/19657.

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Hemberger, Glen J. "Selected Songs for Chamber Winds and Soprano: Rediscovering a Forgotten Repertoire of John Philip Sousa." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20013/hemberger%5Fglen/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2001.
Includes 8 concert and recital programs (1997-2001). Accompanied by recital, recorded Sept. 6, 2001. Includes bibliographical references (p. 100-107).
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Heldt, Holmgren Emily, and Louise Persson. "Anpassning till en förändrad kropp, oro, försämrad självkänsla och sociala begränsningar : Kvinnor som opererat bort ett eller båda brösten. - En litteratur studie." Thesis, Kristianstad University College, Department of Health Sciences, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-3995.

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Bröstcancer är en vanlig cancerform i Sverige idag. Vid en operation där en borttagning av en brösttumör är nödvändig kan en kvinna tvingas ta bort ett bröst eller i sällsynta fall båda. Varje förändring i kroppen medför en förändring av människors tillgång till livet. En kvinna som tvingas genomgå en bröstoperation kan ha mycket att anpassa sig till i sin förändrade situation, kroppsligt, emotionellt och socialt. Syftet med studien var att belysa bröstcancerdrabbade kvinnors anpassning till sin livssituation efter att ha tagit bort ett eller båda brösten.

Åtta vetenskapliga artiklar har använts till studien. Resultatet presenteras i två huvudteman: Vad bröstopererade kvinnor som tagit bort ett eller båda brösten behöver anpassa sig till och Hur bröstopererade kvinnor som opererat bort ett eller båda brösten anpassar sig till sin situation. Det kan vara viktigt att sjuksköterskor har vetskap om på vilket sätt kvinnor som opererat bort bröst anpassar sig till sin livssituation då sjuksköterskor kan hjälpa och från början erbjuda redskap så de kan handskas med sin situation.

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Routier, Hélène. "D’une esthétique métakitsch sur la scène contemporaine : évolution de la notion de kitsch et son usage au second degré dans des mises en scène d’opérettes de Jacques Offenbach au XXIe siècle." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA005.

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Le spectacle vivant actuel fait la part belle à des représentations légères, divertissantes, qui jouent avec le mauvais goût et intègrent la culture de masse. Il se dégage alors de certaines mises en scène, à la valeur artistique pourtant indéniable, une tonalité qui amène à les qualifier de kitsch. Or, selon Hermann Broch, le kitsch est “l’anti-art” par excellence. Cette contradiction tient au fait que, lorsque le kitsch est envisagé à distance, comme l'ont démontré Susan Sontag et Guy Scarpetta, à un second degré, il peut accéder à l’art. Pour qualifier de kitsch une représentation sans que cela renvoie à un jugement de valeur dépréciatif et afin de comprendre les modalités de ce renversement, il faut au préalable identifier le kitsch. En s’appuyant sur les définitions de cette notion par des penseurs comme Walter Benjamin ou Clement Greenberg et sur les descriptions des propriétés du kitsch par Abraham Moles et Christophe Genin, cette thèse s'arrête, notamment, sur le rôle du processus autoréflexif de la métathéâtralité. Celle-ci permet en effet au kitsch, en se dénonçant comme tel, de devenir un outil scénique qui produit une esthétique que nous appelons métakitsch. Dans l’objectif de saisir concrètement les enjeux, les effets et les limites de cette esthétique, l’opérette s'est avérée le genre théâtral le plus propice. Aussi la deuxième partie de cette étude est-elle centrée, d’une part sur quatre œuvres de Jacques Offenbach par un même metteur en scène, Laurent Pelly, de l’autre sur l’analyse comparative de quatre représentations de La Belle Hélène d’Offenbach par des metteurs en scène différents. Il en ressort que l’utilisation du kitsch, qui offre une grande liberté aux metteurs en scène, engendre des spectacles souvent ironiques, voire caustiques, hybrides, éclectiques et ludiques. L’utilisation du kitsch, de l'anti-art dans l'art, semble répondre aux besoins de renouveau du public
Modern live shows tend to be light and fun affairs which integrate with bad taste and popular culture. Some stagings, which possess an undeniable artistic value, have emerged with a tone that one could call kitsch. According to Hermann Broch, kitsch is the "anti-art". This contradiction arises because, as Susan Sontag and Guy Scarpetta have demonstrated, when kitsch is considered at a distance, with irony, it can be considered art. To call a show kitsch in a non-pejorative manner, and in order to understand the manner of this reversal, one must first define kitsch. Based on the definitions of this notion by thinkers like Walter Benjamin and Clement Greenberg and the descriptions of the properties of kitsch by Abraham Moles and Christophe Genin, this dissertation will notably end with the role of the self-reflexive process of metatheatre. This allows kitsch, in identifying it as such, to become a tool for the stage that produces an aesthetic that we call metakitsch. In terms of concretely defining the stakes, the effects and the limits of this aesthetic, the operetta has proved to be the most suitable theatrical genre. The second part of this study is centered, on the one hand, on four works by Jacques Offenbach presented by the same director, Laurent Pelly, and on the other, on a comparative analysis of four representations of La Belle Helene by Offenbach, presented by different directors. It will emerge that the use of kitsch, which offers a great deal of freedom to directors, produces spectacles that are often ironic, even caustic, hybrid, eclectic and playful. The use of kitsch, of anti-art in art, seems to meet the public's need for something new
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Zackrisson, Caroline. "”Gud har opererat mig och gett mig ett nytt hjärta” : En kvalitativ studie om trons betydelse för individer som kommit ut ur ett missbruk." Thesis, Ersta Sköndal University College, Department of Social Work, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:esh:diva-363.

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Aymé, Claude. "L'oeuvre de gilbert et sullivan : image et reflet de la societe victorienne." Paris 3, 1987. http://www.theses.fr/1987PA030086.

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La premiere partie replace les oeuvres et leurs auteurs dans leur contexte historique, artistique et sociologique. Un chapitre retrace succintement l'histoire de l'art lyrique en grande-bretagne des origines jusqu'a l'epoque victorienne, un autre decrit brievement l'etat de la scene anglaise au debut du xixe siecle et l'evolution personnelle de gilbert avant sa rencontre avec sullivan. Suivent une biographie et un portrait sommaires du librettiste et du compositeur. Le dernier chapitre traite de la cooperation entre gilbert, sullivan et richard d'oyly carte. La deuxieme partie est consacree a l'etude systematique de chacune des quatorze operettes. Chaque chapitre contient une presentation des sources et de la genese du livret, une analyse de l'intrigue et des personnages, une comparaison detaillee entre la fiction telle qu'elle apparait dans les livrets et la realite de l'epoque, une appreciation de la musique de sullivan fondee essentiellement sur les ouvrages des critiques contemporains ou posterieurs, et, enfin, une revue de presse rendant compte de l'accueil que recurent les operettes en leur temps. La troisieme partie a pour objet de montrer que les operettes de gilbert et sullivan donnent une double image de la societe victorienne : une image fidele mais aussi une image infidele parce que partielle, partiale ou hautement fantaisiste. . .
The first part gives the historical, sociological, and artistic background of the works and their authors. The history of opera in england is succintly related in one chapter ; the situation of english drama at the beginning of the xixth century in another one, as well as the personal evolution of gilbert before his meeting with sullivan. This is followed by short biographies and portraits of both librettist and composer. The last chapter deals with the history of the savoy operas and of gilbert, sullivan and d'oyly carte's common venture. The second part is composed of systematic studies of the fourteen operas. Each chapter contains an account of the sources and the genesis of the work, a thorough analysis of the plot and the characters, a detailed comparison of fiction as it appears in the librettos and the reality of the victorian period, and appraisal of sullivan's music, based mainly on contemporary and modern critical works, and a review of contemporary papers and magazines showing how the opera was received by the public when it was created. The third part shows that two images of victorian society are given by the savoy operas : a faithful one and a deceiving one. . .
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Balzano, M. "'IL PRINCIPIO DISTRUGGENTE' E 'L'ETERNO FANCIULLO'. ODIO E AMORE NEL PENSIERO POLITICO DI LEOPARDI." Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/171534.

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This study analysis Leopardi’s thought about amor proprio and amor patrio (let.: love of self driven by pride and jealousy; patriotism), concepts that have been discussed at great length in Zibaldone, with very important conclusions also in other works, especially Operette morali. Staring from the two concepts we can analyze the original interpretation that Leopardi gave in some Rousseau’s works, in particular Discourse on Inequality, and later we can examine the concept of hate in its philosophical and political meaning. It is then analyzed the problem of Christianity in relation to amor patrio and Leopardi’s readings on hate thematic are highlighted: Polibio, Sallustio and Velleio Patercolo, Machiavelli and Montesquieu. In the second part it is underlined how the theory of social hate of Leopardi comes from the theory of metus hostilis presented by Polibio and other classical historiographers who followed. Finally I analyzed the concept of love, always under the philosophical and political point of view: once he has abandoned the idea of a hate capable of keep the society alive, Leopardi studies love as solidarity and sign of altruism and endurance of life. Some Operette morali and La ginestra, that I examined in the last chapter, have been inspired by this concept of love.
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41

Nay, Melissa. "TURNING TRICKS AND THE MODERN FEMALE PROTAGONIST: AN ANALYSIS OF THE PORTRAYAL OF THE ROLE OF THE DEMIMONDE FROM VIENNESE OPERET." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3933.

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The demimondaine, an exclusive courtesan in nineteenth-century Europe, and the modern mezzo-soprano protagonist are prevalent characters in American musical theatre and can be observed in various styles throughout European music and drama. In Arthur Schnitzler s The Little Comedy, the female protagonist is both a romantic heroine and mistress; and in Jules Renard s Le Pain de Ménage, the lead player is anything but the classic ingénue. In preparation for performance and to further the research in the contemporary music comedy realm, I prepared for the roles of Josefine and Monica in the University of Central Florida s production of Barry Harman and Keith Herrmann s Romance, Romance through in-depth analysis on the performance development process of two distinct female protagonist characters. I first researched the historical world of the demimonde: identifying key characteristics of these famed courtesans and their fashionable emergence as tart with a heart characters in nineteenth-century dramatic works. Second, I traced the evolution of the fallen woman archetypal character and the mezzo-soprano from European grand opera and realism to contemporary musical theatre. This research better defined my character type and therefore assisted in performance preparation. Third, Act I s The Little Comedy is a period piece set in nineteenth-century Vienna, and Harman s and Herrmann s adaptation reflect the musical and social aspects of the time. Through historical research on operetta style and the creators perspectives, I more fully developed my understanding and performance interpretation in Romance, Romance. Finally, I evaluated my characterization process with a discussion of the practical implementation of research on the musical performance process. This thesis document adds to the wealth of pre-existing musical theatre character analysis and discusses key components associated with the development of the modern female protagonist. Identifying the evolution of the tart with a heart stock character from its European origins to its current Broadway prominence, this manuscript advances the academic field with the illumination of the demimonde in American musical theatre. Last, for the purpose of developing believable and realistic characters for musical performance, this document analyzes and evaluates the research methods used to inform the rehearsal process when developing two female protagonist characters in contemporary musical theatre.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
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42

Braga, Catarina Sofia Ribeiro. "O teatro cantado em Coimbra (1880-1910): géneros, grupos e contextos." Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/12326.

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Mestrado em Música
O presente trabalho consiste num estudo sobre o teatro cantado na cidade de Coimbra entre 1880 e 1910, contextualizado num fenómeno mais amplo de alastramento do culto de lazer e do consumo de bens culturais a diferentes camadas da sociedade. Tem como enfoque principal o conhecimento dos consumos no âmbito do teatro cantado naquela cidade, durante o período em análise e do impacte que teve na emergência e consolidação de novas sociabilidades e papéis sociais, sobretudo aqueles que foram ligados à atividade musical. A análise visa os diferentes sectores da sociedade conimbricense. Para tal, procedeu-se ao mapeamento social da cidade a partir das suas geografias: “alta”, “baixa” e os “arrabaldes” e da identificação de grupos socias a partir de escritos da época: “académicos”, “ as famílias” e “classe trabalhadora”. São apresentadas as obras que subiram ao palco nesse período, bem como os espaços performativos, as associações e companhias que as fizeram representar. A recolha de dados foi realizada em periódicos e publicações da época, como as de António Sousa Bastos e Borges Figueiredo e nas publicações de José Pinto Loureiro. O estudo revela que o consumo e por vezes a própria representação dos diferentes géneros de teatro cantado foi transversal aos diferentes sectores da sociedade cominbricense. Nesse contexto emergiram novos papéis sociais, novos grupos de teatro cantado, compositores, libretistas, atores/cantores amadores e profissionais e músicos instrumentistas que circulavam não só dentro como fora da cidade de Coimbra.
This paper is a study of the singing theater in Coimbra between 1880 and 1910, contextualized in a wider spread of the cult phenomenon of leisure and cultural consumption of the different layers of society goods. Its main focus is the knowledge of consumption within the singing theater in that city during the period in question and the impact it had on the emergence and consolidation of new social arrangements and social roles, especially those who were connected to the music activity. For such, it was made a social mapping of the city from its geographies: " uptown " , " downtown" and " suburbs " and identifying social groups from writings of that period , " academic" , " families " , " working class ". The works that were performed during this period are presented as well as performative spaces, groups and companies that represented them. Data collection was carried out in periodicals and publications of the time, as António Sousa Bastos, Borges Figueiredo and in publications of José Pinto Loureiro. In this context, new social roles emerged, manifested through the emergence of new groups of singing theater, songwriters, text writers, amateur and professional actors/singers and musicians who circulated not only in the city but also outside Coimbra. .
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43

Frank, Vojtěch. "Recepce sovětské operety v Československu na případu Dunajevského Bílého akátu." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-436625.

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The thesis focuses on the staging of Soviet operettas in Czechoslovakia between 1946 and 1987. The import of the Soviet repertoire to Czechoslovak operetta theaters was linked to the cultural and political transformations at the outset of the communist regime in Czechoslovakia. The so-called Soviet socialist operetta would soon have been established as a model for new Czechoslovak operettas. As such, it became an important part of the repertoire which was influenced by the official polical system. The thesis surveys the progressing intensity of the import and the developing operetta genre in the Soviet Union. On the examples of Isaac Dunayevsky's operettas Free Wind and, more intensively, White Acacia, in comparison with the original versions of these operettas, it shows the tendencies of interpretation of Soviet operettas in Czechoslovakia, in the changing cultural and political context. The thesis also concerns the topic of critical perception in both cultural environments and, overall, it aspires to capture the examined topics in the widest possible contextual horizon.
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44

Oliva, Elena. "L'operetta parigina a Milano, Firenze e Napoli (1860-1890): esordi, sistema produttivo e ricezione." Doctoral thesis, 2019. http://hdl.handle.net/2158/1153860.

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45

Hsu, Wei-Hsiang, and 徐偉翔. "Die Fledermaus OvertureJohann Straus & the development of the operetta." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/jzh566.

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46

Mrázková, Tereza. "Německo-česká setkávání v díle Martina Beckera a Jaroslava Rudiše." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313101.

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The subject of this thesis is the analysis of the collective literary output of the two young authors - German writer Martin Becker and his Czech friend Jaroslav Rudiš. A part of my thesis concerns also with their lives and own works. The object is to find Czech motives in the work and life of Martin Becker and influence of German culture on the books of Jaroslav Rudiš, to concern on typical characteristics and analysis of their collective works. In my thesis I arrive at the conclusion that the Czech stay, interest in Czech language and literature reflect in works of Becker, in the similar way are books of Rudiš influenced by his interest in German authors, art, history, German language and other. In collective work are these moments interwoven and supplemented.
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47

Polyanovskaya, Ya M. "The English Operetta and Musical Comedy in German Guest Performances in St. Petersburg." 2002. https://ul.qucosa.de/id/qucosa%3A15883.

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During the reign of Tsar Alexander 11 an operetta appeared on the Russian stage and became very popular. On 9 April 1866, Offenbach's La belle Helene was performed at the Imperial Mikhailovsky Theatre.
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48

"REVEREND STORMFIELD GOES TO HEAVEN: AN OPERETTA FOR SEVEN VOCALISTS AND INSTRUMENTAL ENSEMBLE." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53693.

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abstract: Reverend Stormfield Goes to Heaven is an operetta in six scenes for seven vocalists and flute, clarinet, horn, percussion, piano, violin, cello, and double bass. The work’s approximate length is 40 minutes. The libretto is written by the composer and based on the short story by Mark Twain titled “Captain Stormfield Goes to Heaven.” The short story features the typical biting sarcasm of Mark Twain. The libretto combines part of the original text with alterations to satirize modern day Christianity and religious values in general. The story follows Reverend Stormfield as she arrives in Heaven and quickly learns that the locations and people she expected to see and meet are shockingly different. The journey takes her through comical scenarios and deeper philosophical dilemmas, and in the end she is left to confront her own disturbing past. The musical elements of the operetta include traditional and octatonic scales, twelve- tone rows and set theory based on the overriding intervallic relationship of the perfect fourth. The sets implemented as motivic ideas: 0-1-4-5, 0-1-6-7, and 0-2-5-7 are based on the perfect fourth and serve as the framework for many of the melodic ideas. The instruments provide an accompanimental role often incorporating melodic fragmentation and contrapuntal textures and techniques. Instrumental solos are featured prominently in arias and the instrumental interludes between scenes.
Dissertation/Thesis
Reverend Stormfield Recording: Scenes 1,3,4,6
Doctoral Dissertation Music 2019
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49

"Comparison of the Original Operetta Arizona Lady, by Emmerich Kálmán, with its 2015 Adaptation Performed by Arizona Opera." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53809.

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abstract: Emmerich Kálmán (1882-1953) was a leading composer during the Silver Age of Viennese operetta. His final work, Arizona Lady (1954), premiered posthumously, on Bavarian Radio, January 1, 1954. The stage premiere followed on February 14, 1954, at the Stadttheater in Bern, Switzerland. It is his only operetta that is set entirely in the United States, in Tucson, Arizona. Arizona Opera commissioned and produced a new adaptation of Arizona Lady, which was performed in October 2015, in both Tucson, Arizona, and Phoenix, Arizona. The libretto was heavily revised, as well as translated, primarily into English with some sections in Spanish and German. Through comparison of the original and adaptation, this study examines the artistic decisions regarding which materials, both musical and dramatic, were kept, removed, or added, as well as the rationale behind those decisions. The changes reflect differences between an Arizonan audience in 2015 and the European audience of the early 1950s. These differences include ideas of geographical identity from a native versus a foreign perspective; tolerance for nationalistic or racial stereotypes; cultural norms for gender and multiculturalism; and cultural or political agendas. Comparisons are made using the published piano/vocal score for the original version, the unpublished piano/vocal score for the adaptation, archival performance video of the Arizona Opera performance, and the compact disc recording of the 1954 radio broadcast premiere.
Dissertation/Thesis
Doctoral Dissertation Performance 2019
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50

Mrázková, Tereza. "Německo-česká setkávání v díle Martina Beckera a Jaroslava Rudiše." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-323077.

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TITLE: German-Czech meetings in books written by Martin Becker and Jaroslav Rudiš SUMMARY: The subject of this thesis is the analysis of the collective literary output of the two young authors - German writer Martin Becker and his Czech friend Jaroslav Rudiš. A part of my thesis concerns also with their lives and their works. The object is to find Czech motives in the work and life of Martin Becker and influence of German culture on the books of Jaroslav Rudiš, to concern on typical characteristics and analysis of their collective works. In my thesis I arrive at the conclusion that the Czech stay, interest in Czech language and literature reflect in works of Becker, in the similar way are books of Rudiš influenced by his interest in German authors, art, history, German language and other. In collective work are these moments interwoven and supplemented. KEYWORDS: Martin Becker, Jaroslav Rudiš, radio play, operetta, story, collective work, novel
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