 |
|
|
Item Details
| Title:
|
BALLET AND OPERA IN THE AGE OF "GISELLE"
|
| By: |
Marian Smith |
| Format: |
Paperback |
| List price:
|
£38.00 |
| Our price: |
£30.40 |
| Discount: |
|
| You save:
|
£7.60 |
|
|
|
|
|
| ISBN 10: |
0691146497 |
| ISBN 13: |
9780691146492 |
| Availability: |
Usually dispatched within 1-3 weeks.
 Delivery
rates
|
| Stock: |
Currently 0 available |
| Publisher: |
PRINCETON UNIVERSITY PRESS |
| Pub. date: |
7 March, 2010 |
| Series: |
Princeton Studies in Opera |
| Pages: |
288 |
| Description: |
Focusing on the age of Giselle at the Paris Opera (from the 1830s through the 1840s), this book looks at the structural and thematic relationship between ballet and opera. It argues that an understanding of both the genres - and of nineteenth-century theater-going culture in general - may be gained by examining them within the same framework. |
| Synopsis: |
Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opera (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opera during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. ? |
| Illustrations: |
44 halftones, 50 line illus., 19 tables |
| Publication: |
US |
| Imprint: |
Princeton University Press |
| Prizes: |
Winner of De la Torre Bueno Prize for Most Distinguished Book in Dance |
| Returns: |
Returnable |
|
|
|
 |
|
|
|
|
|
No Cheese, Please!
A fun picture book for children with food allergies - full of friendship and super-cute characters!Little Mo the mouse is having a birthday party.
|
My Brother Is a Superhero
Luke is massively annoyed about this, but when Zack is kidnapped by his arch-nemesis, Luke and his friends have only five days to find him and save the world...
|
|
|
|
|