Relevant bibliographies by topics / Theatre - 19th century

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Theatre - 19th century'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Theatre - 19th century"

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van Vliet, Harry M. M. "Bringing a Master Narrative to Its Knees: The Power of Historical Data on Theatre Patrons." Research Data Journal for the Humanities and Social Sciences 5, no. 2 (2020): 126–33. http://dx.doi.org/10.1163/24523666-00502010.

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Abstract For the ‘Rotterdam Project’, a large amount of historical data on patrons of Rotterdam’s main theatres during the ‘long’ 19th century (1773–1914) was collected, digitally registered and statistically analysed. The data was gathered from the theatre archives of the city of Rotterdam and included data on such specifics as ticket sales, repertoire and featured performers. The database holds prosopography information on over 16,000 patrons and almost 15,000 registered ticket sales to these patrons. This dataset (https://doi.org/10.21943/auas.7381127) can be used to make comparisons to the datasets of similarly sized cities in other countries during the same period and for broader research on 19th-century cultural history. So far, the data has been mainly applied to empirically test the master narrative of theatre historiography on the social composition of theatre audiences. The analyses based on the data show that this narrative must, for the most part, be rejected.
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Malița, Ramona. "Madame de Staël ou le plaidoyer pour une vie seconde : le théâtre." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (2020): 39–56. http://dx.doi.org/10.24193/subbdrama.2020.2.02.

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"Madame de Staël or the Necessity of a Second Life: The Theatre. Our contribution proposes an incursion into literary history at the time of the First Wave of French Romanticism. The subject of the investigation is Madame de Staël’s experimental theatre and the dramatic seasons that she organized between 1804 and 1811 in Coppet and Geneva. Our conclusions are twofold: on the aesthetic side, Coppet’s dramatic representations had the role of changing the aesthetic and literary canons of the early 19th century; on the historical side, the Coppet Group is one of the first romantic cenacles whose resounding literary activity was the theatre. Keywords: Madame de Staël, Coppet, Geneva, experimental theatre, French Romanticism, aesthetic and literary canons, 19th century literature, romantic theatre."
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Jamil Shahwan, Saed, and Tasneem Rashed Said Shahwan. "Development of Literary Forms in Theater and Novel during the Victorian Era." International Journal of Applied Linguistics and English Literature 8, no. 5 (2019): 49. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.5p.49.

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Appropriate understanding and embracing of the literature in the 19th century in Britain, should be considered so crucial when it comes to writing of novel and the same as to that of theater. Although Radcliff & Mattacks (2009) point out the changes experienced in theatre during the Victorian era, this research further explains the role of human activities in influencing changes in literary forms. There are a number of factors that are seen to be taking place at this particular period, lack of some basic understanding hindered the whole concept of writing. This period was commonly referred as the Victorian era and novel writing were considered to be on the lead when it came to literary genre. Most of the novels at this particular period were published in three volumes, several developments are clearly observed by introduction of other styles such as the satire writing. The women are now given equal opportunities and their work is being acknowledged without any challenges. On the other hand, the 19th century makes a great impact on the theatre; this can be illustrated by the number of developments that were involved. This stage was identified as the revolving stage and these changes were observed as from the 1896. This paper presents the major activities that took place in the 19th century in Britain that took place in the writing of the novel, the impact that it had on the novelist and so is that on the theater. This paper goes on to present the kind of society that existed in this era, the cultures and their way of life which includes the division of classes among the people of Britain.
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Epner, Luule. "Contemporary Finnish drama in Estonian Theatre in the 21st century." Interlitteraria 24, no. 2 (2020): 380–95. http://dx.doi.org/10.12697/il.2019.24.2.9.

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After regaining independence in 1991 Estonia, like other Baltic states, went through a transition period which can be described as a return to the West, i.e. Europe. By now, Estonia has joined European community and is successfully integrated with Europe. However, in regard to the country’s cultural and political identity, the process of self-determination continues, particularly on the level of regional identity: whether the newly independent Baltic countries belong to Eastern or Northern Europe? Estonia tends to position itself among Nordic countries, primarily by reason of close historical ties and linguistic kinship with Finland.
 In the light of current identity processes the cultural interaction between Estonia and Finland deserves attention. This paper examines only one aspect: the reception of contemporary Finnish dramaturgy in the 21st century Estonian theatre. Finnish dramas had been staged in Estonian theatres since the end of the 19th century. However, it is noticeable that their number has significantly increased since the 2000s, and the repertoire of the major Estonian theatres contains far more new, contemporary Finnish plays than well-known classics. Plays by Leea Klemola, Sirkku Peltola, Juha Jokela, Mika Myllyaho, Pipsa Lonka and others enjoy great popularity among Estonian audiences. How do these plays represent Finnish society? How were they interpreted and received in Estonian theatre? How do stage productions of Finnish plays contribute to the construction of shared Nordic identity? The paper looks for answers to these questions.
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D’Orazio, Dario, and Sofia Nannini. "Towards Italian Opera Houses: A Review of Acoustic Design in Pre-Sabine Scholars." Acoustics 1, no. 1 (2019): 252–80. http://dx.doi.org/10.3390/acoustics1010015.

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The foundation of architectural acoustics as an independent science is generally referred to Sabine’s early studies and their application. Nevertheless, since the 16th Century, a great number of authors wrote essays and treatises on the design of acoustic spaces, with a growing attention to the newborn typology of the Opera house, whose evolution is strongly connected to the cultural background of the Italian peninsula. With roots in the Renaissance rediscovery of Vitruvius’s treatise and his acoustic theory, 16th- to 19th-Century Italian authors tackled several issues concerning the construction of theatres—among them, architectural and structural features, the choice of the materials, the social meanings of performances. Thanks to this literature, the consolidation of this body of knowledge led to a standardisation of the forms of the Italian Opera house throughout the 19th Century. Therefore, the scope of this review paper is to focus on the treatises, essays and publications regarding theatre design, written by pre-Sabinian Italian scholars. The analysis of such literature aims at highlighting the consistencies in some 19th-Century minor Italian Opera houses, in order to understand to what extent this scientific and experimental background was part of the building tradition during the golden age of the Italian Opera.
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Bartoş-Agavriloaie, Oana-Nicoleta. "Theatre Criticism – a Still Image of a Time." Theatrical Colloquia 9, no. 2 (2019): 182–89. http://dx.doi.org/10.2478/tco-2019-0025.

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Abstract Theatre criticism deposits an important part of the memory of theatre, compacting the rhythm of the life of theatre. It represents a genuine collection of opinions/critical comments on acting, directing views, repertoires, set designs, costumes, and it manages to create an image of the world of theatre. It helps us become timeless viewers of still images portraying the profile of Romanian theatre in the second half of the 19th century. A mirror of its time, the theatre review allows us to understand the practices, opinions and values of that time, and to analyse the extent to which they might be functional nowadays.
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Todros, Rossella. "The Carlo Gamba collection of fashion plates in the Biblioteca Maruceluana." Art Libraries Journal 14, no. 4 (1989): 25–27. http://dx.doi.org/10.1017/s0307472200006490.

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The Biblioteca Marucelliana, a public amenity and a reflection of Florentine cultural life since its foundation early in the 18th century, is the home of a collection of 19th century and early 20th century fashion plates, donated in 1965 by Count Carlo Gamba. This collection is used by both scholars and students, including students training to be theatre and fashion designers.
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Strelnikova, Alla A. "The Motif of the Theatre Play in the 19th Century Austrian Fiction." Studia Litterarum 1, no. 3-4 (2016): 162–73. http://dx.doi.org/10.22455/2500-4247-2016-1-3-4-162-173.

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Skimin, Eleanor. "Reproducing the White Bourgeois: The Sitting-Room Drama of Marina Abramović." TDR/The Drama Review 62, no. 1 (2018): 79–97. http://dx.doi.org/10.1162/dram_a_00720.

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In the late-19th-century Euro-American theatre of domestic realism, the tête-à-tête on the sitting room set was the signature convention for the staging of intimate relational exchange. Since the 1980s Marina Abramović has been reproducing this sedentary bodily arrangement in much of her work. While Abramović has sought to position her performance art in counterpoint to white bourgeois theatre, her sedentary dramas are haunted by the ghosts of this seemingly unrelated genealogy of performance.
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Kruger, Loren. "Cold Chicago: Uncivil Modernity, Urban Form, and Performance in the Upstart City." TDR/The Drama Review 53, no. 3 (2009): 10–36. http://dx.doi.org/10.1162/dram.2009.53.3.10.

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Since the Haymarket massacre of 1886, Chicagoans have buried and resurrected the city's experiences in performances, politics, and built environments. From Sullivan to Gehry to Chris Ware, from socialist militancy to immigrants' rights, from 19th-century commemorations of the Paris Commune to 21st-century stagings of architectural and political conflicts, Chicago has generated drama in urban theory and practice as well as in theatre.
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Dissertations / Theses on the topic "Theatre - 19th century"

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Ertz, Matilda Ann Butkas 1979. "Nineteenth-century Italian ballet music before national unification: Sources, style, and context." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/11296.

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xxiv, 603 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.<br>Though not widely acknowledged, ballet and its music were important to the nineteenth-century Italian theatre-goer. While much scholarship exists for Italian opera, less study is made of its counterpart even though the ballet was an important feature of Italian theatre and culture. This dissertation is the first in-depth survey of the music for Italian ballets from 1800-1870, drawing from the hundreds of ballet scores in two important collections: The John and Ruth Ward Italian Ballet Collection, part of the Harvard Theatre Collection, and the New York Public Library for the Performing Arts Research Collections. After discussion of primary and secondary sources (Chapters II and III), I provide an overview of the context in which ballets were performed during the period (Chapter IV). In Chapter V I discuss musical styles for mime and for dance, and dance sub-categories such as the pas de deux, ballabile, and national dances. I also explore specific commonly occurring choreo-musical sub-topics such as anger, love, storms, hell, witches, devils, and sylphs. Finally, I examine two complete ballets in detail. Chapter VI on Salvatore Viganò's La Vestale includes a discussion of the hitherto neglected manuscript full score and of the published piano reduction. Chapter VII on Giuseppe Rota's Bianchi e Negri explores the musical and dramatic adaptation of Harriet Beecher Stowe's Uncle Tom's Cabin . While examining the traits of Italian ballet music as a genre and exploring relationships between music, dance, and libretto, this dissertation initiates a wider discussion of the social-political context of ballet music in nineteenth-century Italian theatrical life during the turbulent decades spanning the 'Risorgimento' period.<br>Committee in charge: Marian Smith, Chairperson, Music; Anne McLucas, Member, Music; Marc Vanscheeuwijck, Member, Music; Jenifer Craig, Outside Member, Dance
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Schor, Ruth. "Eine alltägliche Tätigkeit : performing the everyday in the avant-garde theatre scene of late nineteenth-century Berlin." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:f182a548-e450-4efa-a3a0-478461d44ab6.

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This dissertation situates late nineteenth-century Berlin's reception of naturalist drama in contemporary discourse about European modernism, which to date has disregarded the significant impact of this cultural environment. Examining the Berlin avant-garde's demand for "truth" and "authenticity," this study highlights its legacy of promoting more honest and dynamic forms of human interaction. Sketching the historical background, Chapter 1 demonstrates how the reception of Henrik Ibsen in Berlin fuelled creative strategies for a more honest approach to theatre. From literary matinees to more egalitarian ways of directing theatre, this moment in cultural history significantly shaped people's understanding of theatre as a tool for social criticism and as a means of creating a sense of intimacy. Two important figures are highlighted here: literary critic and theatre director Otto Brahm, central to the promotion of naturalism, and his more prominent protégé Max Reinhardt, who developed Brahm's legacy. Situating these developments in a theoretical framework, Chapter 2 draws on the concept of "the everyday" as set out by Toril Moi, Stanley Cavell, and Ludwig Wittgenstein to link the role of the ordinary on stage to the avant-garde's search for authenticity and truthfulness. Through this framework, Ibsen's social dramas from A Doll's House to Hedda Gabler (Chapter 3) can be seen perfectly to exemplify this shift in perspective from the 1880s through the 1890s, revealing the complexity of truthfulness in communications. Tracing these themes in other dramatic works, innovative readings of Arthur Schnitzler's Liebelei (Chapter 4) and Rainer Maria Rilke's Das tägliche Leben (Chapter 5) shed new light on these two fin-de-siècle authors. By highlighting these authors' previously unrecognised connections with Berlin's avant-garde theatre scene and their dramatic exploration of interpersonal connection, this study shows both how theatre functioned as a tool to examine human relationships and to what extent twentieth-century literature was grounded in this way of thinking.
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Andraschke, Peter. "Das Theaterleben in Bielitz in der Zeit der Habsburger Monarchie." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222065.

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Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.

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Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
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Ingham, Michael Anthony. "Theatre of storytelling : the prose fiction stage adaptation as social allegory in contemporary British drama /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20275961.

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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.

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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.
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Bohannon, Jeanne Law. ""Here in the To-Day, Forgotten in the To-Morrow:" Re-covering and Re-membering the Feminist Rhetorics of 19-Century Actress and Author Adah Menken." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_diss/96.

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This dissertation project, which recovers the feminist invention of 19th-century actress and author Adah Menken, proves the efficacy of conducting historigraphic recoveries of heretofore forgotten and elided female rhetors. I situate Adah’s visual and written performances within the materiality of Victorian social codes, positioning her as a feminist commentator worthy of inclusion in our remembrances of feminist discourses. I use archival sources including carte de visites (CDVs) and Adah’s letters and poetry as heuristics for gendered critique, to analyze how she resisted the master narrative of Victorian society and its accompanying codes governing public and private feminine behavior. My objectives are three-fold: to use archival recovery as a method to unearth and evaluate what feminist inquiry can accomplish; to argue for the feminist intentions of a previously unknown female writer; and to offer an opportunity to discover cross-disciplinary connections for rhetorical recoveries. Feminist inquiry is itself an exemplar of rhetorical invention, the idea of making a path. In my dissertation project, I illustrate how Adah Menken blazed a path in her personal and public rhetorics. For my principal goal of asserting Adah’s importance as a feminist rhetor, I use primary sources to demonstrate that her invention and resistance provide fertile ground for vital feminist inquiry. As a secondary means of asserting the significance of archival feminist research, I also offer my Adah Menken recovery as a case study for examining ideas of resistance and subversion to dominant master narratives. For this application, I use Judith Butler’s theory of performativity and Michel Foucault’s ideas surrounding the topic of resistance. Ultimately, the convergence of theoretical and practical applications for rhetorical recoveries, both of which I describe in-depth in my dissertation, serve to re-connect fields of inquiry and make them relevant to scholars across the Academe.
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Koukal, Petr. "Theatre and music performances at the castles of Telč and Náměst' nad Oslavou." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-221695.

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Were there any aristocratic residences in Moravia, where operas were performed even after the year 1800? Surprisingly, the answer is yes. There were two such places in the music history of that country. The first residence was the castle at Náměst' nad Oslavou, a smaller town about forty kilometres west of Brno. The second one was the castle in the town of Telč, situated another fifty kilometres west of Brno. Let us have a closer look at these two cases.
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Andraschke, Peter. "Das Theaterleben in Bielitz in der Zeit der Habsburger Monarchie." Musikgeschichte in Mittel- und Osteuropa ; 4 (1999), S. 3-14, 1999. https://ul.qucosa.de/id/qucosa%3A15503.

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Koukal, Petr. "Theatre and music performances at the castles of Telč and Náměst' nad Oslavou." Musikgeschichte in Mittel- und Osteuropa ; 3 (1998), S. 244-252, 1998. https://ul.qucosa.de/id/qucosa%3A15482.

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Were there any aristocratic residences in Moravia, where operas were performed even after the year 1800? Surprisingly, the answer is yes. There were two such places in the music history of that country. The first residence was the castle at Náměst'' nad Oslavou, a smaller town about forty kilometres west of Brno. The second one was the castle in the town of Telč, situated another fifty kilometres west of Brno. Let us have a closer look at these two cases.
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Books on the topic "Theatre - 19th century"

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Theatre, culture and temperance reform in nineteenth-century America. Cambridge University Press, 2003.

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The theatre of naturalism: Disappearing act. Peter Lang, 2011.

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Footlights in the foothills: Amateur theatre of Las Vegas and Fort Union, New Mexico, 1871-1899. Sunstone Press, 2011.

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New readings in theatre history. Cambridge University Press, 2003.

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Theatre in the Victorian Age. Cambridge University Press, 1991.

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Baskomb, Candida F. V. The use of modern materials in the conservation/restoration of a late 19th century model toy theatre. Camberwell School of Art and Crafts), 1986.

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Bordman, Gerald Martin. American theatre: A chronicle of comedy and drama, 1869-1914. Oxford University Press, 1994.

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Bordman, Gerald Martin. American theatre: A chronicle of comedy and drama, 1930-1969. Oxford University Press, 1996.

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Bordman, Gerald Martin. American theatre: A chronicle of comedy and drama, 1914-1930. Oxford University Press, 1995.

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Worth, Katharine. Samuel Beckett's theatre: Life journeys. Clarendon Press, 2001.

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Book chapters on the topic "Theatre - 19th century"

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Cotticelli, Francesco. "Burladores e Convitati a Napoli tra Sei e Settecento, da Perrucci ad Abri (e oltre)." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.14.

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This essay provides a comparison of select testimonies of the enduring tradition of Convitato di pietra (The Stone Guest) in Central and Southern Italy from the late 17th to the early 19th century. The text by Perrucci, the scenario from the Casamarciano collection, the anonymous revision located in the Italian Castle Archive at the Beinecke Library at Yale, and Abri’s opera tragica (which relies significantly on Perrucci’s setting) testify to the longevity of this plot – as well as of the Spanish repertoire – on the stage, in spite of notable changes, which reveal dramatic transformations in taste and sensitivity on the part of theatre practitioners and the audience.
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Trivedi, Madhu. "Urban theatre in North India during the 19th century." In Mapping India. Routledge India, 2019. http://dx.doi.org/10.4324/9780429318467-13.

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Xepapadako, Avra. "European Itinerant Opera and Operetta Companies Touring in the Near and Middle East." In The Music Road. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0016.

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Τ‎his chapter focuses on the activity of musical theatre companies touring in south-eastern Europe, the Near East, the Caucasus and Central Asia during the 19th and early 20th centuries. It investigates cultural transfer and amalgamation between the metropolitan culture of the West and the Orient in the domain of opera and operetta. Greece, in particular, functioned as a cultural crossroads between East and West. From 1840 onwards, Italian opera companies began to tour in Greece and its new theatres, and even further towards the Near East; they were followed, from 1870 onwards, by French operetta and vaudeville companies. In the last decades of the 19th century, these French artists expanded their itineraries towards the East, beyond familiar geographical boundaries, tracing their own small odysseys on the map. The chapter charts and presents these traces, attempting to shed light on an unexplored area of the world history of music and theatre.
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Lama Hernández, Miguel Ángel. "Las Comedias escogidas de Lope de Vega por Juan Eugenio Hartzenbusch." In «Entra el editor y dice»: ecdótica y acotaciones teatrales (siglos XVI y XVII). Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-304-5/005.

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This essay discusses one of the aspects related to the interliminars of the edition of Lope de Vega’s comedies undertaken by Juan Eugenio Hartzenbusch, an edition that is still highly valuable to the modern critic. The reading that the 19th-century scholar did for the edition of the «Biblioteca de Autores Españoles» proved to be an interesting proposal of dramatic interpretation of classic Spanish theatre.
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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.

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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.
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Kühschelm, Oliver, and Gertrude Langer-Ostrawsky. "Theater auf dem flachen Land. Bürgerliche Öffentlichkeit zwischen Provinz und Metropole." In Niederösterreich im 19. Jahrhundert, Band 2: Gesellschaft und Gemeinschaft. Eine Regionalgeschichte der Moderne. NÖ Institut für Landeskunde, 2021. http://dx.doi.org/10.52035/noil.2021.19jh02.25.

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Theatre in the Countryside. The Middle Classes and the Public Sphere between the Provinces and the Metropolis. The Archduchy of Austria below the Enns is particularly suited to tracing the development of a provincial theatrical landscape and investigating its relation to the metropolis, since in the crownland’s centre lay Vienna, one of the largest cities in the world around 1900. The article therefore ex- amines the formation of a bourgeois cultural sphere in those parts of Lower Austria that were then known as the “flat countryside” and which roughly correspond to today’s federal state. During the 19th century, there emerged a theatrical landscape whose principal features proved to be long-lasting and which nevertheless remained a precarious phenomenon. This also applies if we discuss theatre as an expression of the bourgeois public sphere – in both its sense as a theatre business sustained by the middle classes and as the promise to enable participation by a broad public beyond the boundaries of classes and estates.
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Hartley, Jenny. "1. More." In Charles Dickens: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198714996.003.0001.

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Charles Dickens’s first two novels—The Posthumous Papers of the Pickwick Club and Oliver Twist—were published in monthly instalments, usually of two or three chapters at a time, beginning in 1836. Charles Dickens was also editing a new monthly magazine, Bentley’s Miscellany, and writing for theatre at this time. He was the talk of the town, his name everywhere. ‘More’ explains how contradiction and opposition fired Dickens’s imagination and were characteristics running throughout his writing. Oliver was a great success with many versions and manifestations. There were numerous translations and the invention of cinema at the end of the 19th century saw film versions, followed by adaptations for television, musicals, and theatre.
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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.

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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.
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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.

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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.
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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.

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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.
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Conference papers on the topic "Theatre - 19th century"

1

Kozma, Éva. "From fame to shame? Study upon forming and reforming of the 19th century theatre in Hungary as reflected in the story of a family of actors." In 1st International e-Conference on Studies in Humanities and Social Sciences. Belgrade: Center for Open Access in Science, 2018. http://dx.doi.org/10.32591/coas.e-conf.01.12113k.

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2

Baeva, Olga. "Architecture of Russian Provincial Theatres of the Second Half of the 19th Century in the Regional and Global Aspects of Culture." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.98.

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