The Resource Dance and drama in French baroque opera, Rebecca Harris-Warrick

Dance and drama in French baroque opera, Rebecca Harris-Warrick

Label
Dance and drama in French baroque opera
Title
Dance and drama in French baroque opera
Statement of responsibility
Rebecca Harris-Warrick
Creator
Author
Subject
Genre
Language
eng
Summary
Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. This book exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement is essential to understanding the work. The book considers the operas of Lully and the 46-year period between the death of Lully and the arrival of Rameau, when influences from the commedia dell'arte and other theatres began to inflect French operatic practices. It explores the intersections of musical, textual, choreographic and staging practices at a complex institution - the Academie Royale de Musique - which upheld as a fundamental aesthetic principle the integration of dance into opera
Member of
Cataloging source
DLC
http://library.link/vocab/creatorName
Harris-Warrick, Rebecca
Dewey number
782.10944/09032
Illustrations
  • illustrations
  • music
Index
index present
LC call number
ML1727.2
LC item number
.H37 2016
Literary form
non fiction
Nature of contents
bibliography
Series statement
Cambridge studies in opera
http://library.link/vocab/subjectName
  • Lully, Jean-Baptiste
  • Dance in opera
  • Dance in opera
  • Opera
  • Opera
  • Opera
  • Dance in opera
  • Opera
  • Opera
  • France
  • Barock
  • Oper
  • Tanz
  • Dramaturgie
  • Frankreich
Label
Dance and drama in French baroque opera, Rebecca Harris-Warrick
Link
Instantiates
Publication
Bibliography note
Includes bibliographical references (pages 457-471) and index
Carrier category
volume
Carrier category code
nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • Inside and Outside the Divertissement
  • Italianisms in the Tragedie en Musique
  • Pastoral Divertissements
  • Nautical Divertissements
  • Lully Revivals
  • 13.
  • Terpsichore, Muse of the Dance
  • The Dance Troupe During the Early Eighteenth Century
  • Personnel and Staffing
  • The Stars of the Troupe
  • A Case Study: The Dumoulin Brothers
  • 2.
  • Crossovers
  • Les Caracteres de la danse and Its Offspring
  • The Symphonies of Jean-Fery Rebel
  • Operatic Incarnations
  • Shared Practices
  • "Tous vos pas sont des sentiments"
  • 14.
  • In the Traces of Terpsichore
  • Notated Choreographies "Dansees a l'Opera"
  • Soloists as Choreographers
  • Constructing the Divertissement
  • Dance Types, New or Newly Characterized
  • "Venetian" Dances
  • Dances for Arlequin
  • Peasant Dances
  • Entree grave
  • Menuet
  • Passepied
  • Tambourin
  • Contredanse
  • Who Dances Where
  • Primary Sources
  • The Muses' Entente
  • Epilogue
  • Appendices
  • Appendix 1
  • Works Performed at the Academie Royale de Musique, 1695 -- 1732, in Which the Impact of the Comedie Italienne Can Be Seen
  • Appendix 2
  • A Partial List of Performances Consisting of "Fragments" 1702 -- 1732
  • Interpreting the Didascalies
  • The Mechanics of Lully's Divertissements
  • The Characters
  • Staging the Dancers and the Chorus
  • Dance Inside of Choruses
  • The Choreographic Treatment of Dance-Songs
  • Machine generated contents note:
  • Independent Instrumental Dances
  • Chaconnes and Passacailles
  • Divertissement Architecture
  • The Dramaturgical Implications of Mechanics
  • Reading the Texts
  • Text and Action
  • Celebrations
  • 3.
  • Dance Foundations
  • Basic Principles of Baroque Dance
  • pt. I
  • Movement Vocabulary
  • Dance-Types
  • Construction of Choreographies
  • Lully's Dance Troupe
  • 4.
  • Dance Practices on Stage
  • The Dancing Forces
  • Counting the Dancers
  • Distributing the Dancers
  • Deploying the Dancers across a Divertissement
  • Lully
  • Style and Expression
  • Musical Characterization
  • Key
  • Form
  • Texture and Orchestration
  • Phrase Structure
  • Instrumental Music and Movement
  • 5.
  • Prologues
  • Atys
  • 1.
  • Armide
  • 6.
  • The Lighter Side of Lully
  • Les Fetes de l'Amour et de Bacchus
  • Cadmus et Hermione, Alceste, and Thesee
  • Le Carnaval
  • Psyche
  • Le Triomphe de l'Amour
  • Acis et Galatee
  • pt. II
  • The Dramaturgy of Lully's Divertissements
  • The Rival Muses in the Age of Campra
  • 7.
  • The Muses Take the Stage
  • Genre Terminology
  • Sources
  • Reading the Cast Lists in Librettos
  • 8.
  • Thalie, Muse of Comedy
  • The Decade after Lully
  • "Italy" Comes to the Opera
  • Alceste (1674)
  • L'Europe galante (1697)
  • Les Fetes venitiennes (1710)
  • 9.
  • Thalie Visits the Fairs
  • Appropriated Frames
  • Operatic Parodies
  • Dancing Master Scenes
  • The Masked Ball on Stage
  • Comic Simultaneity
  • "Fragments" as a Genre
  • Atys (1676)
  • 10.
  • The Contested Comic
  • Domestication
  • Le Carnaval et la Folie (1704)
  • Les Fragments de M. de Lully (1702)
  • Les Fetes de Thalie (1714)
  • The Realm of the Heroique
  • Les Fetes grecques et romaines (1723)
  • La Reine des Peris (1725)
  • Naturalizing Novelty
  • Armide (1686)
  • 11.
  • Melpomene, Muse of Tragedy
  • Achille et Polixene (1687)
  • Medee (1693)
  • Tancrede (1702)
  • Hypermnestre (1716)
  • Jephte (1732)
  • 12.
  • Melpomene Adapts
  • Three Divertissement Types
Dimensions
26 cm.
Extent
xx, 484 pages
Isbn
9781107137899
Lccn
2016023675
Media category
unmediated
Media MARC source
rdamedia
Media type code
n
Other physical details
illustrations, music :
System control number
  • (OCoLC)946968074
  • (OCoLC)ocn946968074
Label
Dance and drama in French baroque opera, Rebecca Harris-Warrick
Link
Publication
Bibliography note
Includes bibliographical references (pages 457-471) and index
Carrier category
volume
Carrier category code
nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • Inside and Outside the Divertissement
  • Italianisms in the Tragedie en Musique
  • Pastoral Divertissements
  • Nautical Divertissements
  • Lully Revivals
  • 13.
  • Terpsichore, Muse of the Dance
  • The Dance Troupe During the Early Eighteenth Century
  • Personnel and Staffing
  • The Stars of the Troupe
  • A Case Study: The Dumoulin Brothers
  • 2.
  • Crossovers
  • Les Caracteres de la danse and Its Offspring
  • The Symphonies of Jean-Fery Rebel
  • Operatic Incarnations
  • Shared Practices
  • "Tous vos pas sont des sentiments"
  • 14.
  • In the Traces of Terpsichore
  • Notated Choreographies "Dansees a l'Opera"
  • Soloists as Choreographers
  • Constructing the Divertissement
  • Dance Types, New or Newly Characterized
  • "Venetian" Dances
  • Dances for Arlequin
  • Peasant Dances
  • Entree grave
  • Menuet
  • Passepied
  • Tambourin
  • Contredanse
  • Who Dances Where
  • Primary Sources
  • The Muses' Entente
  • Epilogue
  • Appendices
  • Appendix 1
  • Works Performed at the Academie Royale de Musique, 1695 -- 1732, in Which the Impact of the Comedie Italienne Can Be Seen
  • Appendix 2
  • A Partial List of Performances Consisting of "Fragments" 1702 -- 1732
  • Interpreting the Didascalies
  • The Mechanics of Lully's Divertissements
  • The Characters
  • Staging the Dancers and the Chorus
  • Dance Inside of Choruses
  • The Choreographic Treatment of Dance-Songs
  • Machine generated contents note:
  • Independent Instrumental Dances
  • Chaconnes and Passacailles
  • Divertissement Architecture
  • The Dramaturgical Implications of Mechanics
  • Reading the Texts
  • Text and Action
  • Celebrations
  • 3.
  • Dance Foundations
  • Basic Principles of Baroque Dance
  • pt. I
  • Movement Vocabulary
  • Dance-Types
  • Construction of Choreographies
  • Lully's Dance Troupe
  • 4.
  • Dance Practices on Stage
  • The Dancing Forces
  • Counting the Dancers
  • Distributing the Dancers
  • Deploying the Dancers across a Divertissement
  • Lully
  • Style and Expression
  • Musical Characterization
  • Key
  • Form
  • Texture and Orchestration
  • Phrase Structure
  • Instrumental Music and Movement
  • 5.
  • Prologues
  • Atys
  • 1.
  • Armide
  • 6.
  • The Lighter Side of Lully
  • Les Fetes de l'Amour et de Bacchus
  • Cadmus et Hermione, Alceste, and Thesee
  • Le Carnaval
  • Psyche
  • Le Triomphe de l'Amour
  • Acis et Galatee
  • pt. II
  • The Dramaturgy of Lully's Divertissements
  • The Rival Muses in the Age of Campra
  • 7.
  • The Muses Take the Stage
  • Genre Terminology
  • Sources
  • Reading the Cast Lists in Librettos
  • 8.
  • Thalie, Muse of Comedy
  • The Decade after Lully
  • "Italy" Comes to the Opera
  • Alceste (1674)
  • L'Europe galante (1697)
  • Les Fetes venitiennes (1710)
  • 9.
  • Thalie Visits the Fairs
  • Appropriated Frames
  • Operatic Parodies
  • Dancing Master Scenes
  • The Masked Ball on Stage
  • Comic Simultaneity
  • "Fragments" as a Genre
  • Atys (1676)
  • 10.
  • The Contested Comic
  • Domestication
  • Le Carnaval et la Folie (1704)
  • Les Fragments de M. de Lully (1702)
  • Les Fetes de Thalie (1714)
  • The Realm of the Heroique
  • Les Fetes grecques et romaines (1723)
  • La Reine des Peris (1725)
  • Naturalizing Novelty
  • Armide (1686)
  • 11.
  • Melpomene, Muse of Tragedy
  • Achille et Polixene (1687)
  • Medee (1693)
  • Tancrede (1702)
  • Hypermnestre (1716)
  • Jephte (1732)
  • 12.
  • Melpomene Adapts
  • Three Divertissement Types
Dimensions
26 cm.
Extent
xx, 484 pages
Isbn
9781107137899
Lccn
2016023675
Media category
unmediated
Media MARC source
rdamedia
Media type code
n
Other physical details
illustrations, music :
System control number
  • (OCoLC)946968074
  • (OCoLC)ocn946968074

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