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While eighteenth-century playwright and critic Gotthold Ephraim
Lessing made numerous contributions in his lifetime to the theater,
the text that best documents his dynamic and shifting views on
dramatic theory is also that which continues to resonate with later
generations - the Hamburg Dramaturgy (Hamburgische Dramaturgie,
1767-69). This collection of 104 short essays represents one of the
eighteenth century's most important critical engagements with the
theater and its potential to promote humanistic discourse.
Lessing's essays are an immensely erudite, deeply engaged, witty,
ironic, and occasionally scathing investigation of European
theatrical culture, bolstered by deep analysis of Aristotelian
dramatic theory and utopian visions of theater as a vehicle for
human connection. This is the first complete English translation of
Lessing's text, with extensive annotations that place the work in
its historical context. For the first time, English-language
readers can trace primary source references and link Lessing's
observations on drama, theory, and performance not only to the
plays he discusses, but also to dramatic criticism and acting
theory. This volume also includes three introductory essays that
situate Lessing's work both within his historical time period and
in terms of his influence on Enlightenment and post-Enlightenment
theater and criticism. The newly translated Hamburg Dramaturgy will
speak to dramaturgs, directors, and humanities scholars who see
theater not only for entertainment, but also for philosophical and
political debate.
In 1921, Sergei Prokofiev's Love for Three Oranges—one of the
earliest, most famous examples of modernist opera—premiered in
Chicago. Prokofiev's source was a 1913 theatrical divertissement by
Vsevolod Meyerhold, who, in turn, took inspiration from Carlo
Gozzi's 1761 commedia dell'arte–infused theatrical fairy tale.
Only by examining these whimsical, provocative works together can
we understand the full significance of their intertwined lineage.
With contributions from 17 distinguished scholars in theater, art
history, Italian, Slavic studies, and musicology, Three Loves for
Three Oranges: Gozzi, Meyerhold, Prokofiev illuminates the
historical development of Modernism in the arts, the ways in which
commedia dell'arte's self-referential and improvisatory elements
have inspired theater and music innovations, and how polemical
playfulness informs creation. A resource for scholars and theater
lovers alike, this collection of essays, paired with new
translations of Love for Three Oranges, charts the transformations
and transpositions that this fantastical tale underwent to provoke
theatrical revolutions that still reverberate today.
While eighteenth-century playwright and critic Gotthold Ephraim
Lessing made numerous contributions in his lifetime to the theater,
the text that best documents his dynamic and shifting views on
dramatic theory is also that which continues to resonate with later
generations - the Hamburg Dramaturgy (Hamburgische Dramaturgie,
1767-69). This collection of 104 short essays represents one of the
eighteenth century's most important critical engagements with the
theater and its potential to promote humanistic discourse.
Lessing's essays are an immensely erudite, deeply engaged, witty,
ironic, and occasionally scathing investigation of European
theatrical culture, bolstered by deep analysis of Aristotelian
dramatic theory and utopian visions of theater as a vehicle for
human connection. This is the first complete English translation of
Lessing's text, with extensive annotations that place the work in
its historical context. For the first time, English-language
readers can trace primary source references and link Lessing's
observations on drama, theory, and performance not only to the
plays he discusses, but also to dramatic criticism and acting
theory. This volume also includes three introductory essays that
situate Lessing's work both within his historical time period and
in terms of his influence on Enlightenment and post-Enlightenment
theater and criticism. The newly translated Hamburg Dramaturgy will
speak to dramaturgs, directors, and humanities scholars who see
theater not only for entertainment, but also for philosophical and
political debate.
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