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Articles de revues sur le sujet « Actor-singers »

Auteur : Grafiati

Publié le 2 juin 2025

Mis à jour le 31 juillet 2025

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1

Treinkman, Melissa. "A Conversation with Bronson Norris Murphy." Journal of Singing 80, no. 2 (2023): 227–29. http://dx.doi.org/10.53830/vjkd5871.

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Self-described singing actor Bronson Norris Murphy discusses his career, including his nine years as part of the Broadway cast of Phantom of the Opera. Murphy shares the reality of a Broadway career and offers advice to aspiring musical theatre singers.

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Wang, Qun, and Zihao Liu. "Efficacy Analysis of Emotional Labor and Professional Self-Quality of Opera Actors Based on Metaregression Analysis in Small Sample Environment." Journal of Environmental and Public Health 2022 (September 14, 2022): 1–9. http://dx.doi.org/10.1155/2022/3704201.

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On the rules of emotional performance in performances, opera singers based it on their emotional labor. Opera actors need to use certain stage scenarios and script designs during performances in order to convey the emotions of the characters in a way that will resonate with the audience and provide excellent stage effects. Opera singers put a lot of emotional work into their performances, which is at the core of them. Whatever the actor’s genuine feelings may be, he or she must channel them as a skilled opera actor in order to provide the audience with a rich visual feast. This article investi

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Ivanova, Nadezhda S. "The Singer-Actor Role in the System of Staging Principles of Musical Theatre in the 1930–1940s (based on the fi rst roduction of S. Prokofi ev’s opera “War and Peace” in 1946)." Университетский научный журнал, no. 75 (August 25, 2023): 149–57. http://dx.doi.org/10.25807/22225064_2023_75_149.

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The article examines the role and signifi cance of a singer-actor in the system of staging principles of the 1930–1940s. The work shows the changes in the approaches to work on a performance adopted during the designated period and refl ects the basic principles in the work of artists preparing their roles. The author analyses reviews of critics of the 1940s and identifi es approaches to the analysis of stage materials and the place of the description of singers-actors in the articles. The study is carried out on the basis of the 1946 production of S. Prokofi ev’s opera “War and Peace” at the

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Asare, Masi. "The Black Broadway voice: calls and responses." Studies in Musical Theatre 14, no. 3 (2020): 343–59. http://dx.doi.org/10.1386/smt_00047_7.

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Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey, actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period shows, and the fantasy of the ge

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Manning, Céline Frigau. "Phrenologizing Opera Singers: The Scientific “Proofs of Musical Genius”." 19th-Century Music 39, no. 2 (2015): 125–41. http://dx.doi.org/10.1525/ncm.2015.39.2.125.

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In some descriptions from the first half of the nineteenth century, scientific categories are used syncretically to explain opera singers' talents, including their innate and acquired dispositions, and their effects on audiences. Phrenology sought to read on the surface of skulls the developments of cerebral zones that corresponded to various instincts, or to affective and intellectual faculties. According to the partisans of this “only true Science of the Human Mind,” one could thus explain any aspect of human activity and life. Franz Joseph Gall's followers applied these theories to music an

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Kucher, L. I. "Educating the Actor Singer in the Opera Studio of Lviv M. V. Lysenko State Conservatory." Aspects of Historical Musicology 13, no. 13 (2018): 166–78. http://dx.doi.org/10.34064/khnum2-13.13.

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Background. Western Ukraine’s cultural musical life had its own paths of development. The fi rst musical school began working in this region in September 1903. The issue of creating a specialized musical educational institution with native-language teaching was repeatedly highlighted in Lviv newspapers in XIX and early XX centuries. Nevertheless, most musicians were forced to obtain knowledge either on their own or in Polish, German and Czech educational establishments. Composer S. Liudkevich was the most ardent fi ghter for foundation of a Ukrainian conservatory in Lviv. He became one of the

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Kolesnyk, Evdokia. "Education of a Singer-Actor in the Context of the Ukrainian Opera School." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(55) (June 16, 2022): 111–24. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266551.

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The article examines the process of formation of the Ukrainian national opera school, establishing its fundamental principles in the context of the successive activities of several generations of vocal teachers. The author substantiates in detail the necessity of training a universal opera singer with fluency in the vocal technique of performing the Ukrainian and foreign repertoire in the original language. The specificity of the training of a singer-actor of the opera genre is determined in the context of the integrative interaction of domestic and foreign vocal systems. The algorithm of this

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Shevtsova, Maria. "Of ‘Butterfly’ and Men: Robert Wilson Directs Diana Soviero at the Paris Opéra." New Theatre Quarterly 11, no. 41 (1995): 3–11. http://dx.doi.org/10.1017/s0266464x00008824.

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In NTQ40 (November 1994), in the first of two pieces on modern directorial approaches to the staging of opera as music theatre, Maria Shevtsova discussed Peter Brook's production of Impressions de Pelléas, complementing her own analysis with an interview with one of the leading actor-singers, Vincent Le Texier. Pursuing a similar dual-faceted approach, here she provides a detailed explication of Robert Wilson's production of Madame Butterfly, seen at the Opéra de Paris Bastille in 1993, exploring the ways in which Puccini's original orientalisms are translated and transmuted into a version of

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9

Yeh, Catherine Vance. "A Public Love Affair or a Nasty Game? The Chinese Tabloid Newspaper and the Rise of the Opera Singer as Star." European Journal of East Asian Studies 2, no. 1 (2003): 13–51. http://dx.doi.org/10.1163/15700615-00201003.

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At the end of the nineteenth and beginning of the twentieth century an unlikely new figure emerged on the Chinese national stage to take its place as the new star: the Peking Opera singer and in particular the dan or female impersonator, hitherto a member of the lowest social caste and generally discriminated against by law and social custom. These singers’ newly gained national reputation had everything to do with Shanghai and its media industry, more precisely with the appearance of the tabloids, the xiaobao, in the 1890s. Within a decade, the opera singer had become the selling point of the

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Kovmir, Nataliia. "Oleksii Chumakov’s Creative Activity." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (2021): 296–303. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245820.

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The article analyzes various aspects of Oleksii Chumakov’s creative activity. Oleksii Chumakov’s activity can be considered as striking in its variety of creative manifestations. His singing career is harmoniously combined with his work as a composer and arranger. The purpose of the article is to identify the specifics of stylistic dimensions of O. Chumakov’s work. The article analyzes various aspects of O. Chumakov’s activity, which impresses with the variety of creative manifestations. The artist harmoniously combines the singer’s career with composing and arranging skills. The research meth

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11

Belov, Alexey V. "Serf Theater of the Demidovs ‘Sloboda Palace’ in German Quarter: Organization, Creativity and Decline of the Noble Home Theaters Tradition in Moscow at the Turn of 19th Century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 119–31. http://dx.doi.org/10.37816/2073-9567-2023-69-119-131.

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Serf theaters played an important role in the development of the European theatrical tradition in Russia. For the most part they were nonprofessional and private. Both public and professional serf collectives were rather rare. The paper analyzed the history of the home serf theater, created by Russian nobles and industrialists N. A. and N. N. Demidov. It functioned in their Moscow house “Sloboda Palace”, located within the German Quarter — an elite suburb which contributed to the spread of theatrical culture here. The Demidov Theater was related to a small group of serf theaters that stood bet

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12

BELINSKA, Liudmyla. "THE FIELD OF (NON-HYBRID) BATTLE AND THE UKRAINIAN INTELIGENTSIA." Bulletin of the Lviv University. Series of Arts Studies 199, no. 23 (2022): 153–61. http://dx.doi.org/10.30970/vas.23.2022.12204.

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The Start of russia’s full-scale invasion of Ukraine on February 24, 2022, became a watershed between two worlds for Ukrainians and the global community. After the ambivalent existence between the Russian-speaking and Ukrainian-speaking cultural space of independent Ukraine, the time came to define clear positions and actions for every Ukrainian, artist, actor as well. The slogan “Art over Politics” became irrelevant, the exposed nerves of dramatic events required taking only one, true side in the battle. In the difficult early hours of the war, the critical border situation, the peaceful Ukra

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13

Komarnitskyi, Yaroslav. "The Role of the Tenor in Giacomo Puccini’s Musical Theatre (Interpretive Models of the Rudolf Image in the Opera La Boheme)." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 29–43. http://dx.doi.org/10.31866/2616-7581.7.1.2024.303758.

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The purpose of the article is to identify the defining aspects of the artistic and figurative performance interpretation of the part of Rudolf in the opera La Boheme by G. Puccini – a lyrical hero embodied in the tenor timbre. The research methodology is based on the following methods: analytical (study of art and musicological literature on the subject); method of performance analysis (analysis of Rudolf’s part in the context of identifying genre and style features, characteristic musical and expressive means, and place in the drama of the performance); comparative method (comparison of inter

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14

Kovmir, Nataliia. "Oleksii Chumakov's Creative Activity." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (2021): 296–303. https://doi.org/10.31866/2616-7581.4.2.2021.245820.

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The article analyzes various aspects of Oleksii Chumakov’s creative activity. Oleksii Chumakov’s activity can be considered as striking in its variety of creative manifestations. His singing career is harmoniously combined with his work as a composer and arranger. The purpose of the article is to identify the specifics of stylistic dimensions of O. Chumakov’s work. The article analyzes various aspects of O. Chumakov’s activity, which impresses with the variety of creative manifestations. The artist harmoniously combines the singer’s career with composing

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15

Anestratenko, Mikhail V. "Concertmaster’s and actor’s algorithm while working on the role-part in the tradition of Russian music theatre in the 20th century." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 140–51. http://dx.doi.org/10.35852/2588-0144-2022-2-140-151.

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The author of the article takes into the account his work as a stage director with the dramaturgy of the vocal material in the Russian music theatre, as well as the analysis of the rehearsal process of the famous theatrical figures on the music and text material of the opera. He reveals the specific features of the joint creative process of both the accompanist and the actor on the part-role in the process of creating an artistic images in an opera performance. It is analyzed the situation, common in the rehearsal process, when most practitioners in the field of performing arts focus on the fi

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16

Lyashova, S. A. ""PARTISAN REQUIEM" BY HENNING SOMMERRO: METHODS AND RESULTS OF INTERPRETING LITERARY TEXTS IN THE CONTEXT OF THE WORK'S DRAMATURGY." Arts education and science 1, no. 30 (2022): 130–41. http://dx.doi.org/10.36871/hon.202201015.

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The article undertakes a study of performing interpretations of the work by H. Sommerro (2000), which is being introduced into scientific circulation for the first time. The main material are recordings of readings by S. Hoff (2000) and B. Andersen (2019). The study is based on comparative and linguistic methods, interdisciplinary approaches, and special methods of musical analysis. Among the principal conclusions that are new in character are the following: the structure of the composition is defined by the tasks of conveying the multiple meanings of Norwegian literary material through the un

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17

ROGERS, VANESSA L. "John Gay, Ballad Opera and theThéâtres de la foire." Eighteenth Century Music 11, no. 2 (2014): 173–213. http://dx.doi.org/10.1017/s1478570614000049.

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ABSTRACTDaniel Heartz was the first musicologist to link John Gay'sThe Beggar's Opera(1728) withopéras comiques en vaudevilles, light musical theatre entertainments popular at the annual Paris fairs. Other scholars such as Edmond Gagey and Calhoun Winton had also suggested that Frenchcomédies en vaudevillesmight have been models for Gay's ‘original’ new genre of the ballad opera, but were unable to find compelling evidence for their suspicions. This article shows that the music ofPolly(1729), Gay's sequel toThe Beggar's Opera, can finally provide a link between ballad operas and thecomédies en

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18

Brayshaw, Emily. "An ‘armour’ against anguish: Costume design considerations around protecting actors in emotionally distressing roles." Studies in Costume & Performance 5, no. 2 (2020): 239–53. http://dx.doi.org/10.1386/scp_00027_7.

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Actors and singers frequently portray characters who experience distressing events, yet this may cause anguish for the performers themselves and require them to perform personal emotional management to cope with their own feelings during a production. This case study discusses and documents my costume design ethos and processes for the Sydney 2018 production of Clare Barron’s play, You Got Older (2015), which required the two lead actors to play characters who were experiencing profound fear, grief and loss. The design approach drew on Monks’s work on the relationship that actors have with the

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Khutorska, Anna. "Vocal parody in performance arts (on the example of an actor’s creativity)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 72, no. 72 (2024): 108–30. https://doi.org/10.34064/khnum1-72.07.

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Statement of the problem. Significant public demand for parody songs and the increase of amateur and professional content in the media space, which subconsciously form the aesthetic canons of the modern collective consciousness, draw the attention of scientists to the problems caused by the interdisciplinary connections of the phenomenon of vocal parody in acting. Objectives, methods and novelty of the research. The article is devoted to researching the issues of vocal parody, the genre, in which the performer maximally reveals his own creative possibilities. The purpose of the article is to o

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Komarnitskyi, Yaroslav. "The Role of the Tenor in Giacomo Puccini's Musical Theatre (Interpretive Models of the Rudolf Image in the Opera La Boheme)." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 29–43. https://doi.org/10.31866/2616-7581.7.1.2024.303758.

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<strong>The purpose of the article </strong>is to identify the defining aspects of the artistic and figurative performance interpretation of the part of Rudolf in the opera <em>La Boheme </em>by G. Puccini – a lyrical hero embodied in the tenor timbre. <strong>The research methodology </strong>is based on the following methods: analytical (study of art and musicological literature on the subject); method of performance analysis (analysis of Rudolf’s part in the context of identifying genre and style features, characteristic musical and expressive means, and

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21

Xinhang, Cui. "The role of Nicolo Grimaldi (Nicolini) in the Italian opera development in London in the early 18th century." PHILHARMONICA. International Music Journal, no. 3 (March 2023): 34–47. http://dx.doi.org/10.7256/2453-613x.2023.3.43425.

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The subject of the research is the artistic phenomenon of Nicolo Grimaldi, an outstanding Italian operatic castrato of the early 18th century. The author examines the creative biography and focuses on the analysis of the stage skills of the singer, who set the bar high for dramatic art in England. Nicolo Grimaldi (1673–1732) became famous under the pseudonym Nicolini (or Nicolino). His name became widely known thanks to the legendary performances on the stage of the Royal Theater in London in 1708–1712 and 1715–1717. The reconstruction of the vocal-dramatic profile of the singer, based on reli

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Kucher, L. I. "Activity of the Opera Studio under Lviv State Conservatory named after M. V. Lysenko as a training subdivision in 1970–90s." Aspects of Historical Musicology 14, no. 14 (2018): 108–21. http://dx.doi.org/10.34064/khnum2-14.08.

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Background. This article continues a series of works by the author on the study of the history of educational activities in the field of opera art in Ukraine. On the basis of archival materials, the chronology and features of the educational process in the Opera Studio of the Lviv State Conservatory named after M. V. Lysenko (now the Lviv National Music Academy) are recreated in the important period of formation of the principles of studio working on the education of an opera singer. Relying on his own many years of experience as a teacher and a researcher, the author gives estimates of the ro

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Zelenina, Nadiia, Vsevolod Zelenin, and Eduard Senko. "Communicative Media Competence of Acting and Opera Teachers During Online Training of Future Opera Singers in Ukraine and the USA." Studies in Media and Communication 10, no. 3 (2022): 236. http://dx.doi.org/10.11114/smc.v10i3.5856.

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The relevance of research on the given topic is that the competence of a teacher largely depends on their communication skills, as well as on the ability to adapt to working in the media space, which is required by modern education. This is especially relevant for the teachers of the art subjects, in particular the skills of an actor and opera singing, because remote training of specialists in these disciplines requires a high level of teachers' competence. The purpose of the submitted article is to study the media competence of teachers of acting skills and opera class during online training

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Karnomo, Retmal. "Konstruksi Teks Tale Ji Desa Tanjung Pauh Hilir Kerinci-Jambi: Kajian Antropolinguistik." Jurnal Ilmiah Dikdaya 10, no. 1 (2020): 107. http://dx.doi.org/10.33087/dikdaya.v10i1.165.

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This research is qualitave descriptive reserach that aimed to explain; (1) The transitivity structure of text of tale ji , (2) The Meaning of tale ji, and (3) Function of tale ji. The data are the texts of tale ji that uttered by the singers of tale Tanjung Pauh Hilir, Kerinci. This research was done through three steps: data collecting, data analysis, and data presentation. Data collecting is used observational method in which tapping as the basic technique. The advance techniques used nonparticipant observational, recording, and note taking techniques. Data analysis used comparison (translat

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Romey, John. "Songs That Run in the Streets." Journal of Musicology 37, no. 4 (2020): 415–58. http://dx.doi.org/10.1525/jm.2020.37.4.415.

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In the second decade of the eighteenth century, the Parisian théâtres de la foire (fairground theaters) gave birth to French comic opera with the inception of the genre known as comédie en vaudevilles (sung vaudevilles interspersed between spoken dialogue). Vaudevilles were popular songs that “ran in the streets” and served as vessels for new texts that transmitted the latest news, scandals, and gossip around the city. Already in the seventeenth century, however, the Comédie-Italienne, the royally funded troupe charged with performing commedia dell’arte, began to create spectacles that incorpo

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Бацак, К. Ю. "ІТАЛІЙСЬКА ОПЕРНА АНТРЕПРИЗА В. АНДРОСОВА - Є. КЕХРІБАРДЖІ В МІСЬКОМУ ТЕАТРІ ОДЕСИ (КВІТЕНЬ 1853 - БЕРЕЗЕНЬ 1854)". ІТАЛІЙСЬКА ОПЕРНА АНТРЕПРИЗА В. АНДРОСОВА - Є. КЕХРІБАРДЖІ В МІСЬКОМУ ТЕАТРІ ОДЕСИ (КВІТЕНЬ 1853 - БЕРЕЗЕНЬ 1854), № 3 (30 серпня 2018): 98–110. https://doi.org/10.5281/zenodo.1406702.

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. Historical studies of the music theatre history in Ukraine, in particular, the problems of the Italian opera formation and activities, in the context of intercultural communication, can not be limited to the comprehension of issues exclusively in musical and performing arts. The positioning of the theatre as a sociocultural phenomenon involves consideration of the artistic activity of the Italian enterprise in the close interrelation of scenic art with the culture of theatricality, the everyday culture of the city, the managerial and financial activities of the enterprise through the reprodu

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Jeffery, Sarah. "The News: a video-opera by Jacob ter Veldhuis; Nederlands Blazers Ensemble, two singers and film UrWald: new music-theatre by Arnoud Noordegraaf; Niewe Amsterdams Peil Ensemble, actor and film Muziekgebow aan 't IJ, Amsterdam (October 2013)." Tempo 68, no. 268 (2014): 89–91. http://dx.doi.org/10.1017/s0040298213001800.

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The Amsterdam contemporary music scene has long been known for its open-mindedness and willingness to explore, and any given evening can be a toss-up between electronic clog dance (served with soup) or piano-playing dogs. A petri dish of creativity, this is given a podium and a voice by the Muziekgebouw aan 't IJ. This edifice of concrete and glass, moored like an industrial spaceship on the banks of the river IJ, is branded in English as the ‘Concert Hall of the twenty-first century’, and indeed their flavourful mix of programming celebrates the more unusual sides of classical music, from the

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Nymenska, Zhanna. "German art song in F. Schubert’s work: principles of authentic vocal performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 72, no. 72 (2024): 88–107. https://doi.org/10.34064/khnum1-72.06.

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Statement of the problem. In the modern musical world, an increasingly important place is occupied by a historically informed performance aimed at reproducing authentic sound parameters in a modern interpretation of the music of the past. It is appropriate to extend the theory of historically informed performance to various areas of music making, one of which is vocal art. An unique era in its history is the vocal work by F. Schubert, the founder of Deutsche Kunstlied (German art song) as a genre phenomenon, along with which the corresponding performance style was formed. “Historically informe

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Miletić, Lidija, Maja Vukadinović, and Šemsudin Plojović. "The influence of nonverbal communication in the media performance of public figures." Ekonomski izazovi 12, no. 23 (2023): 82–89. http://dx.doi.org/10.5937/ekoizazov2323082m.

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This paper examines how the conscious and unconscious non-verbal communication of public figures affects the shaping of attitudes and impressions of the audience. The widest audience forms an impression of public figures based on their media appearances. For the majority of citizens, the media is the primary source of information and a means by which they can indirectly meet prominent figures. Media-recognizable individuals from various professions appear in traditional media-in the press, on radio and television, as well as in new media. For these people, appearances in the media represent an

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Pellow, Deborah. "Male praise-singers in Accra: in the company of women." Africa 67, no. 4 (1997): 582–601. http://dx.doi.org/10.2307/1161109.

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AbstractIn 1957 M. G. Smith published a seminal paper on the role of the male praise-singer, the maroki, among Northern Nigeria's Muslim Hausa. My paper explores the role of the maroki in the diaspora community of Sabon Zongo in Accra. While Accra's zongo communities are considerably diluted in their Islamic orthodoxy, they are nonetheless distinctly Islamic in tone, witness the mosques, Qurʼānic schools, flowing robes and diaphanous prayer veils, and a general cultural orientation that is strongly influenced by the Hausa and distinct from Christian southern Ghana. Among the Hausa, and those z

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Kordovska, P. A. "Italian singer Daisy Lumini as an interpreter of the post-avant-garde music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 253–66. http://dx.doi.org/10.34064/khnum1-56.16.

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Introduction. In the music of the late twentieth century the realization of the creative potential of performers is rarely limited with the framework of direction which was chosen in the beginning of career. The field of the academic music may be too narrow for the artist, but this does not mean a definitive departure from this area. The life and performances of Italian singer, actress and composer Daisy Lumini (1936–1993) could be considered as one of the examples of the twentieth century “variability” of the artist’s way. She developed from a graduate of the Conservatory to a pop star and a

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Mykhailets, V. V. "The problems of vocal training in the conditions of modern choral art." Aspects of Historical Musicology 18, no. 18 (2019): 141–54. http://dx.doi.org/10.34064/khnum2-18.08.

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Background. The contemporary choral art has accumulated many bright samples, which present various performing directions and genres. Particularly interesting are those that include the traits traditionally not inherent to the choral performance. We will consider some of the requirements for the performance of choral music, put forward by the composers of the twentieth century, in particular, representatives of the new Viennese school and the Italian avant-garde, as well as the performance conditions, which require the tendency to adaptation for the stage of choral works and the improvisational

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Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky." Aspects of Historical Musicology 19, no. 19 (2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.

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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff

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Ferlitasari, Reni. "Representasi Stereotip Perempuan dalam Musik Dangdut: Hegemoni Kuasa dan Strategi untuk Bertahan." Yinyang: Jurnal Studi Islam Gender dan Anak, November 25, 2021, 269–88. http://dx.doi.org/10.24090/yinyang.v16i2.4821.

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This research aims to explain the empowerment and capacity of an actor in dangdut music industry. Specifically, it tries to explain the knowledge, involvement, capacity and empowerment of a female singer acting in carrying songs containing what is considered vulgar values or not. Using the social praxeology concept by Bourdieu, this research argues that female singers are dominating actors in terms of dangdut music industry’s growth, though their own positions are not always special, and often enough, at its rock bottom. The stereotype role of a women’s sex and objectification both on the pape

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Ruiz, Jiménez Juan. "Meson de comedias en Granada." Paisajes sonoros históricos (c.1200-c.1800), May 2, 2024. https://doi.org/10.5281/zenodo.11106368.

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En la calle Carpintería, a espaldas del Coliseo –abierto en 1593– se hallaba el "mesón de Comedias", en el que se alojaban los cómicos que representaban en el citado espacio escénico, propiedad ambos del cabildo municipal. On Carpintería Street, behind the Coliseum -opened in 1593- was the "mesón de Comedias", which housed the actors who performed in the aforementioned stage, both owned by the municipal council.

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Bourne, Jenny, Anya Edmond-Pettitt, and Chris Searle. "Seeing off Empire: the life of Pearl Prescod." Race & Class, November 3, 2022, 030639682211312. http://dx.doi.org/10.1177/03063968221131260.

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This article retrieves the life and cultural contributions to Britain of Trinidadian Pearl Prescod, singer, campaigner and the first Black female actor at the National Theatre. She is one of a generation of artists, performers, singers and intellectuals whose contribution to the creation of a Black and anti-colonial strand in British culture in the 1950s and ‘60s has been neglected. By tracking her life from her colonial origins through her migration to Britain and struggles to find work in the 1950s, to her brief break-out professional success in the 1960s and early death in 1966, she is pull

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Ruiz, Jiménez Juan. "Cartografía de las representaciones de los autos sacramentales en la festividad del Corpus Christi en Sevilla." Paisajes sonoros históricos (c.1200-c.1800), December 17, 2023. https://doi.org/10.5281/zenodo.10397502.

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Las representaciones de los autos sacramentales son una de las señas de identidad de la festividad del Corpus Christi en la Edad Moderna. En este artículo, el número 1.000 de la plataforma <em>Paisajes Sonoros Históricos</em>, se da cuenta de la cartografía de estas representaciones en el itinerario de la procesión del Corpus en Sevilla y fuera de ella. Al igual que otros elementos de esta fiesta, varios aspectos relacionados con estos autos sacramentales y los carros en los que se representaban experimentaron diversos cambios, adaptándose temporalmente en sus escenografías, vestuarios y texto

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Ruiz, Jiménez Juan. "Estancia en Granada de Manuela Escamilla (1687)." Paisajes sonoros históricos (c.1200-c.1800), December 16, 2023. https://doi.org/10.5281/zenodo.10394728.

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Dos protocolos notariales permiten documentar la presencia de la autora de comedias Manuela Escamilla (Vázquez) en Granada entre finales de enero y finales de agosto de 1687, probablemente para actuar en la temporada teatral del Coliseo de la ciudad. Two notarial protocols document the presence of the company director Manuela Escamilla (Vázquez) in Granada between the end of January and the end of August 1687, probably to perform in the theater season at the city's Coliseo.

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Ruiz, Jiménez Juan. "Representaciones teatrales en Sevilla (1637-1638)." Paisajes sonoros históricos (c.1200-c.1800), December 23, 2023. https://doi.org/10.5281/zenodo.10427172.

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Ruiz, Jiménez Juan. "Música y representaciones teatrales en el convento de Santa Paula de Sevilla (siglo XVI)." Paisajes sonoros históricos (c.1200-c.1800), January 1, 2024. https://doi.org/10.5281/zenodo.10449635.

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Diferentes provisiones dimanadas del Capítulo General de la orden Jerónima permiten constatar la presencia continuada de monjas músicas en el convento de Santa Paula de Sevilla durante el siglo XVI, así como de representaciones teatrales esporádicas con motivo de acontecimientos o festividades de especial relevancia para la comunidad. Various provisions from the General Chapter of the Hieronymite order show the continued presence of musical nuns in the convent of Santa Paula in Seville during the 16th century, as well as sporadic theatrical performances on the occasion of events or festivities

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Subramanian, Shreerekha Pillai. "Malayalee Diaspora in the Age of Satellite Television." M/C Journal 14, no. 2 (2011). http://dx.doi.org/10.5204/mcj.351.

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This article proposes that the growing popularity of reality television in the southernmost state of India, Kerala – disseminated locally and throughout the Indian diaspora – is not the product of an innocuous nostalgia for a fast-disappearing regional identity but rather a spectacular example of an emergent ideology that displaces cultural memory, collective identity, and secular nationalism with new, globalised forms of public sentiment. Further, it is arguable that this g/local media culture also displaces hard-won secular feminist constructions of gender and the contemporary modern “Indian

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Ruiz, Jiménez Juan. "Fiesta teatral representada en la boda de Faustino Cayetano Cavero y Constanza de Eril y Orcau en Zaragoza (1685)." Paisajes sonoros históricos (c.1200-c.1800), December 16, 2023. https://doi.org/10.5281/zenodo.10395277.

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En 1685, se casaban en Zaragoza Faustino Cayetano Cavero y Constanza de Eril y Orcau. La celebración del acontecimiento debió tener lugar en el palacio de los condes de Sobradiel, padres del novio. Para la ocasión, el poeta aragonés Baltasar Funes y Villalpando escribió una loa y adaptó otros textos, entre ellos la zarzuela de Pedro Calderón de la Barca <em>El golfo de las sirenas</em>, creando una fiesta teatral barroca cuya representación estuvo a cargo de la compañía de Manuela y Antonio de Escamilla. In 1685, Faustino Cayetano Cavero and Constanza de Eril y Orcau were married in Saragossa.

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Ruiz, Jiménez Juan. "Alegrías que se hicieron en Sevilla por la toma de Granada (1492)." Paisajes sonoros históricos (c.1200-c.1800), May 26, 2025. https://doi.org/10.5281/zenodo.15521354.

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En enero de 1492, se celebraron en Sevilla diferentes actos religiosos para festejar la Toma de Granada por los Reyes Católicos, entre ellos una procesión general con la Virgen de los Reyes desde la catedral hasta el convento de Santiago de la Espada. In January 1492, Seville celebrated the Taken of Granada by the Catholic Monarchs with various religious events, including a general procession with the Virgin of the Kings from the Cathedral to the Monastery of Santiago de la Espada.

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Furnica, Ioana. "Subverting the “Good, Old Tune”." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2641.

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   “In the performing arts the very absence of a complete score, i.e., of a complete duplicate, enables music, dances and plays to survive. The tension created by the adaptation of a work of yesterday to the style of today is an essential part of the history of the art in progress” (Rudolf Arnheim, “On Duplication”). In his essay “On Duplication”, Rudolf Arnheim proposes the idea that a close look at the life of adaptations indicates that change is not only necessary and inevitable, but also increases our understanding of the adapted work. To Arnheim, the most fruitful approa

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Ruiz, Jiménez Juan. "Procesión del Ommegang (1549)." Paisajes sonoros históricos (c.1200-c.1800), December 15, 2023. https://doi.org/10.5281/zenodo.10392072.

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La procesión del <i>ommegang</i> hunde sus raíces en la baja Edad Media, vinculada a la imagen de Nuestra Señora del Sablón. Con ocasión de la llegada de Carlos V a la ciudad de Bruselas, en 1549, para presentar al príncipe Felipe a sus súbditos flamencos, este desfile cívico-religioso el desfile se revistió de una colorida representación de todas las corporaciones civiles y sacras de la ciudad en la que cada una de ellas exhibía sus mejores galas, acompañadas de singulares y extravagantes carros con las escenas más variadas que supusieron un enorme dispendio para la ciudad. The Ommegang parad

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Ruiz, Jiménez Juan. "Celebración del cumpleaños del rey Felipe V (1708)." Paisajes sonoros históricos (c.1200-c.1800), December 15, 2023. https://doi.org/10.5281/zenodo.10392127.

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A los festejos para conmemorar el nacimiento del príncipe Luis Fernando celebrados en Manila, en 1708, se sumaron los organizados con motivo del cumpleaños de su padre el rey Felipe V. Un paseo, acompañado de un gran carro triunfal, fue su principal elemento festivo. En la plaza Real, al pie de las casas de cabildo municipal y del palacio del Gobernador, tuvieron lugar las representaciones teatrales de un vejamen y dos loas, las cuales fueron acompañadas de los dos coros musicales que iban en el citado carro triunfal. To the celebrations to commemorate the birth of Prince Luis Fernando celebra

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Ruiz, Jiménez Juan. "Sainete representado en los esponsales de Gaspar de Haro Guzmán, marqués del Carpio, y de Teresa Enríquez de Cabrera (1671)." Paisajes sonoros históricos (c.1200-c.1800), December 16, 2023. https://doi.org/10.5281/zenodo.10395137.

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El 11 de junio de 1671, se casaban en Madrid Gaspar de Haro Guzmán, VII marqués del Carpio y de Eliche, y Teresa Enríquez de Cabrera. Entre los actos programados para la celebración de este acontecimiento, se tiene noticia de la representación de un sainete cantado y bailado, cuyo autor fue Manuel de León Marchante. Los festejos muy probablemente tuvieron lugar en la Huerta de Recoletos, una lujosa casa-jardín propiedad del padre de la novia, Juan Gaspar Enríquez de Cabrera, Almirante de Castilla y VI duque de Medina del Rioseco que contaba entre sus estancias con un salón de comedias. On 11 J

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Ruiz, Jiménez Juan. "Visita a la ciudad de Potosí del arzobispo y virrey del Perú Diego Morcillo Rubio Auñón (1716)." Paisajes sonoros históricos (c.1200-c.1800), December 15, 2023. https://doi.org/10.5281/zenodo.10393273.

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En 1716, Diego Morcillo Rubio Auñón, arzobispo de La Plata, fue nombrado virrey interino del Perú. A finales de abril visitaba Potosí, en su camino hacia Lima. La ciudad hizo un dispendio extraordinario en su recibimiento y en los siete días que se prolongó su estancia en ella. Ceremonias religiosas, banquetes, juegos taurinos y una lucida máscara fueron algunos de los eventos en los que participó toda la ciudadanía que vio desvanecerse sus espectativas de que el nuevo virrey reforzara sus privilegios en la explotación de In 1716, Diego Morcillo Rubio Auñón, archbishop of La Plata, was appoint

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Ruiz, Jiménez Juan. "Fiestas patrocinadas por la cofradía de la Sagrada Pasión de Nuestro Redentor Jesucristo del convento de Nuestra Señora de la Merced de Sevilla." Paisajes sonoros históricos (c.1200-c.1800), August 19, 2024. https://doi.org/10.5281/zenodo.13344482.

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La cofradía de la Sagrada Pasión de Nuestro Redentor Jesucristo se estableció en el convento de la Merced en el segundo tercio del siglo XVI. Organizaba anualmente una serie de fiestas revestidas de especial solemnidad y hacía su estación de penitencia el Jueves Santo. The Confraternity of the Sacred Passion of Our Redeemer Jesus Christ was established in the convent of La Merced in the second third of the 16th century. Every year this brotherhood organised a series of festivities of special solemnity and made its penitential procession on Holy Thursday.

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