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Showing 1 - 4 of
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Relevance and Marginalisation in Scandinavian and European
Performing Arts 1770-1860: Questioning Canons reveals how various
cultural processes have influenced what has been included, and what
has been marginalised from canons of European music, dance, and
theatre around the turn of the nineteenth century and the following
decades. This collection of essays includes discussion of the piano
repertory for young ladies in England; canonisation of the French
minuet; marginalisation of the popular German dramatist Kotzebue
from the dramatic canon; dance repertory and social life in
Christiania (Oslo); informal cultural activities in Trondheim;
repertory of Norwegian musical clocks; female itinerant performers
in the Nordic sphere; preconditions, dissemination, and popularity
of equestrian drama; marginalisation and amateur staging of a
Singspiel by the renowned Danish playwright Oehlenschlager, also
with perspectives on the music and its composers; and the perceived
relevance of Henrik Ibsen's staged theatre repertory and early
dramas. By questioning established notions about canon,
marginalisation, and relevance within the performing arts in the
period 1770-1860, this book asserts itself as an intriguing text
both to the culturally interested public and to scholars and
students of musicology, dance research, and theatre studies.
Performing Arts in Changing Societies is a detailed exploration of
genre development within the fields of dance, theatre, and opera in
selected European countries during the decades before and after
1800. An introductory chapter outlines the theoretical and
ideological background of genre thinking in Europe, starting from
antiquity. A further fourteen chapters cover the performing genres
as they developed in England, France, Germany, and Austria, and
follow the dissemination and adaptation of the corresponding genres
in minor and major cities in the Nordic countries. With a strong
emphasis on the role that pragmatic and contextual factors had in
defining genres, the book examines such subjects as the dancing
masters in Christiania (Oslo), circa 1800, the repertory and
travels of an itinerant acrobat and his wife in Norway in the
1760s, and the influence of Enlightenment ideas on bourgeois drama
in Denmark. Including detailed analyses in the light of material,
political, and social factors, this is a valuable resource for
scholars and researchers in the fields of musicology, opera
studies, and theatre and performance studies.
Relevance and Marginalisation in Scandinavian and European
Performing Arts 1770-1860: Questioning Canons reveals how various
cultural processes have influenced what has been included, and what
has been marginalised from canons of European music, dance, and
theatre around the turn of the nineteenth century and the following
decades. This collection of essays includes discussion of the piano
repertory for young ladies in England; canonisation of the French
minuet; marginalisation of the popular German dramatist Kotzebue
from the dramatic canon; dance repertory and social life in
Christiania (Oslo); informal cultural activities in Trondheim;
repertory of Norwegian musical clocks; female itinerant performers
in the Nordic sphere; preconditions, dissemination, and popularity
of equestrian drama; marginalisation and amateur staging of a
Singspiel by the renowned Danish playwright Oehlenschlager, also
with perspectives on the music and its composers; and the perceived
relevance of Henrik Ibsen's staged theatre repertory and early
dramas. By questioning established notions about canon,
marginalisation, and relevance within the performing arts in the
period 1770-1860, this book asserts itself as an intriguing text
both to the culturally interested public and to scholars and
students of musicology, dance research, and theatre studies.
Performing Arts in Changing Societies is a detailed exploration of
genre development within the fields of dance, theatre, and opera in
selected European countries during the decades before and after
1800. An introductory chapter outlines the theoretical and
ideological background of genre thinking in Europe, starting from
antiquity. A further fourteen chapters cover the performing genres
as they developed in England, France, Germany, and Austria, and
follow the dissemination and adaptation of the corresponding genres
in minor and major cities in the Nordic countries. With a strong
emphasis on the role that pragmatic and contextual factors had in
defining genres, the book examines such subjects as the dancing
masters in Christiania (Oslo), circa 1800, the repertory and
travels of an itinerant acrobat and his wife in Norway in the
1760s, and the influence of Enlightenment ideas on bourgeois drama
in Denmark. Including detailed analyses in the light of material,
political, and social factors, this is a valuable resource for
scholars and researchers in the fields of musicology, opera
studies, and theatre and performance studies.
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