David Brown
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199231836
- eISBN:
- 9780191716201
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199231836.003.0008
- Subject:
- Religion, Theology
This chapter examines the Church's liturgy. The analysis proceeds in four stages. First, the relevance of the ritual of bodily actions to performance of the liturgy is examined, then liturgical ...
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This chapter examines the Church's liturgy. The analysis proceeds in four stages. First, the relevance of the ritual of bodily actions to performance of the liturgy is examined, then liturgical clothing as one small example of the complexity of the issues involved. The next section focuses on architecture and the relevance of such staging. The final section discusses liturgical change and the preservation of mystery.Less
This chapter examines the Church's liturgy. The analysis proceeds in four stages. First, the relevance of the ritual of bodily actions to performance of the liturgy is examined, then liturgical clothing as one small example of the complexity of the issues involved. The next section focuses on architecture and the relevance of such staging. The final section discusses liturgical change and the preservation of mystery.
Jonathan Glixon and Beth Glixon
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195154160
- eISBN:
- 9780199868483
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195154160.001.0001
- Subject:
- Music, History, Western
This book explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios, drawing on the models of the already existent theaters for comedy, established Venice as the ...
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This book explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios, drawing on the models of the already existent theaters for comedy, established Venice as the operatic capital of Europe. Based on new documentation, the book studies all of the components necessary for opera production, from the financial backing and the issue of patronage to the commissioning and creation of the libretto and score; the recruitment and employment of singers, dancers, and instrumentalists; the production of the scenery and the costumes; and the nature of the audience. The book examines the challenges faced by four separate Venetian theaters during the 17th century, focusing on the progress of Marco Faustini, the Venetian impresario most well known today. Faustini — a lawyer by profession — made his way from one of Venice's smallest theaters to one of the largest and most important, and his advancement provides a personal view of an impresario and his partners, who ranged from Venetian patricians to artisans. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception.Less
This book explores public opera in its infancy, from 1637 to 1677, when theater owners and impresarios, drawing on the models of the already existent theaters for comedy, established Venice as the operatic capital of Europe. Based on new documentation, the book studies all of the components necessary for opera production, from the financial backing and the issue of patronage to the commissioning and creation of the libretto and score; the recruitment and employment of singers, dancers, and instrumentalists; the production of the scenery and the costumes; and the nature of the audience. The book examines the challenges faced by four separate Venetian theaters during the 17th century, focusing on the progress of Marco Faustini, the Venetian impresario most well known today. Faustini — a lawyer by profession — made his way from one of Venice's smallest theaters to one of the largest and most important, and his advancement provides a personal view of an impresario and his partners, who ranged from Venetian patricians to artisans. Throughout the book, Venice emerges as a city that prized novelty over economy, with new repertory, scenery, costumes, and expensive singers the rule rather than the exception.
Rosie Wyles
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199232536
- eISBN:
- 9780191716003
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199232536.003.0003
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter explores the symbolism of costume in ancient pantomime dance and the way in which it operates and is manipulated in the performance in order to communicate with the audience. The chapter ...
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This chapter explores the symbolism of costume in ancient pantomime dance and the way in which it operates and is manipulated in the performance in order to communicate with the audience. The chapter re‐evaluates the ancient evidence for the costumes (including masks) of pantomime from the perspective of theatrical semiotics, thus attempting to unlock the costume's potential to further understanding of both the performance and the aesthetics of the art form. The ancient evidence is used to establish what the pantomime's costume would have looked like and the significance of the costume is then considered from the perspective of the character, dancer, audience and art form. The system of semiotics employed in pantomime is shown to be intrinsically different from that used in fully‐staged performances of Greek tragedy. The chapter concludes with the idea that the silk of the costume could stand as a symbol both for the performer's body and also the art form itself.Less
This chapter explores the symbolism of costume in ancient pantomime dance and the way in which it operates and is manipulated in the performance in order to communicate with the audience. The chapter re‐evaluates the ancient evidence for the costumes (including masks) of pantomime from the perspective of theatrical semiotics, thus attempting to unlock the costume's potential to further understanding of both the performance and the aesthetics of the art form. The ancient evidence is used to establish what the pantomime's costume would have looked like and the significance of the costume is then considered from the perspective of the character, dancer, audience and art form. The system of semiotics employed in pantomime is shown to be intrinsically different from that used in fully‐staged performances of Greek tragedy. The chapter concludes with the idea that the silk of the costume could stand as a symbol both for the performer's body and also the art form itself.
Regine May
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199232536
- eISBN:
- 9780191716003
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199232536.003.0016
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter examines the value of the description of the ‘Judgement of Paris' pantomime in book 10 of Apuleius’ Metamorphoses, as evidence for pantomime. The performance, which takes place in the ...
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This chapter examines the value of the description of the ‘Judgement of Paris' pantomime in book 10 of Apuleius’ Metamorphoses, as evidence for pantomime. The performance, which takes place in the theatre at Corinth, involves the characters Paris, Juno, Minerva and Venus all dressed in beautiful costumes. The chapter attempts to offer a solution to the notorious ‘problem’ of the elements in this description which do not conform to the accepted view of what a pantomime performance conventionally involved, such as for examples the use of multiple soloists. The discussion takes a closer look at these unusual elements in the description of the performance and discusses them in light of other evidence relating to pantomime, such as the pulpitum in the theatre of Sabratha. The passage is then placed within its context in the narrative and the novel as a whole. The chapter makes the suggestion that description of the pantomime may have substantial significance for the interpretation of the work as a whole.Less
This chapter examines the value of the description of the ‘Judgement of Paris' pantomime in book 10 of Apuleius’ Metamorphoses, as evidence for pantomime. The performance, which takes place in the theatre at Corinth, involves the characters Paris, Juno, Minerva and Venus all dressed in beautiful costumes. The chapter attempts to offer a solution to the notorious ‘problem’ of the elements in this description which do not conform to the accepted view of what a pantomime performance conventionally involved, such as for examples the use of multiple soloists. The discussion takes a closer look at these unusual elements in the description of the performance and discusses them in light of other evidence relating to pantomime, such as the pulpitum in the theatre of Sabratha. The passage is then placed within its context in the narrative and the novel as a whole. The chapter makes the suggestion that description of the pantomime may have substantial significance for the interpretation of the work as a whole.
Beth L. Glixon and Jonathan E. Glixon
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195154160
- eISBN:
- 9780199868483
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195154160.003.0008
- Subject:
- Music, History, Western
This chapter looks at the expenses associated with dancers, extras, and the orchestra. Dance provided an important visual and musical component of 17th-century opera. Giovanni Battista Balbi, who ...
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This chapter looks at the expenses associated with dancers, extras, and the orchestra. Dance provided an important visual and musical component of 17th-century opera. Giovanni Battista Balbi, who appeared in the first public opera in Venice, is the most famous Venetian dancer and choreographer of the 17th century. The papers of impresario Marco Faustini introduce the names of a number of previously unknown choreographers, namely Giovanni Battista Martini, Battista Artusi, Olivier Vigasio, and Agostino Ramaccini. Faustini paid the choreographer a set fee, and also provided shoes and costumes designed to complement the themes of the dances. Costumes were also provided for extras, who added pomp and splendor to various scenes in the opera. The Faustini papers also provide crucial data for the understanding of the orchestra: its size, makeup, and means of payment. The orchestra comprised stringed and various continuo instruments, and was led either by the composer of the opera, or by someone suggested by him.Less
This chapter looks at the expenses associated with dancers, extras, and the orchestra. Dance provided an important visual and musical component of 17th-century opera. Giovanni Battista Balbi, who appeared in the first public opera in Venice, is the most famous Venetian dancer and choreographer of the 17th century. The papers of impresario Marco Faustini introduce the names of a number of previously unknown choreographers, namely Giovanni Battista Martini, Battista Artusi, Olivier Vigasio, and Agostino Ramaccini. Faustini paid the choreographer a set fee, and also provided shoes and costumes designed to complement the themes of the dances. Costumes were also provided for extras, who added pomp and splendor to various scenes in the opera. The Faustini papers also provide crucial data for the understanding of the orchestra: its size, makeup, and means of payment. The orchestra comprised stringed and various continuo instruments, and was led either by the composer of the opera, or by someone suggested by him.
Beth L. Glixon and Jonathan E. Glixon
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195154160
- eISBN:
- 9780199868483
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195154160.003.0010
- Subject:
- Music, History, Western
This chapter looks at costumes and their importance in mid-17h-century opera. Rather than reuse old stock, costumes were redesigned and remanufactured each year, especially those for the main ...
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This chapter looks at costumes and their importance in mid-17h-century opera. Rather than reuse old stock, costumes were redesigned and remanufactured each year, especially those for the main characters. The practice in Venice was for a separate artisan to take charge of costume design and manufacture. Venice was famous for the manufacturing and sale of cloth, and costumes could be made of a variety of silks and other fabrics; embellishments included embroidery and lace were added. The costumes for the minor characters and extras, however, could be rented from an agent or jobber. Some costumes for the prima donnas were especially extravagant, often costing more than many singers would earn in an entire year. On occasion these would be offered as an enticement to hire a prominent singer, who would then get to keep the dress after the opera had concluded. After the opera season, the costumes could be returned as the property of the designer/tailor, or could be distributed among the investors of the company for their own use or as capital.Less
This chapter looks at costumes and their importance in mid-17h-century opera. Rather than reuse old stock, costumes were redesigned and remanufactured each year, especially those for the main characters. The practice in Venice was for a separate artisan to take charge of costume design and manufacture. Venice was famous for the manufacturing and sale of cloth, and costumes could be made of a variety of silks and other fabrics; embellishments included embroidery and lace were added. The costumes for the minor characters and extras, however, could be rented from an agent or jobber. Some costumes for the prima donnas were especially extravagant, often costing more than many singers would earn in an entire year. On occasion these would be offered as an enticement to hire a prominent singer, who would then get to keep the dress after the opera had concluded. After the opera season, the costumes could be returned as the property of the designer/tailor, or could be distributed among the investors of the company for their own use or as capital.
ANDREW JOTISCHKY
- Published in print:
- 2002
- Published Online:
- January 2010
- ISBN:
- 9780198206347
- eISBN:
- 9780191717055
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198206347.003.0002
- Subject:
- History, European Medieval History
The central issue of this chapter is the adoption of a new habit by the Carmelites in 1287 and the significance of this change of outward appearance for the developing identity of the Order. The ...
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The central issue of this chapter is the adoption of a new habit by the Carmelites in 1287 and the significance of this change of outward appearance for the developing identity of the Order. The reasons for the change as articulated within the Order and the reception of the change by other religious orders are examined. The cultural and theological contexts of monastic and mendicant costume are discussed.Less
The central issue of this chapter is the adoption of a new habit by the Carmelites in 1287 and the significance of this change of outward appearance for the developing identity of the Order. The reasons for the change as articulated within the Order and the reception of the change by other religious orders are examined. The cultural and theological contexts of monastic and mendicant costume are discussed.
Emmanuela Bakola
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199569359
- eISBN:
- 9780191722332
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199569359.003.0006
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Chapter 5 explores dramaturgical and stagecraft aspects of Cratinus' comedies. First it discusses the construction and use of dramatic space in Odysseis, Plutoi, Nemesis, and Seriphioi, especially ...
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Chapter 5 explores dramaturgical and stagecraft aspects of Cratinus' comedies. First it discusses the construction and use of dramatic space in Odysseis, Plutoi, Nemesis, and Seriphioi, especially in the opening scenes. It also explores Cratinus' dramatization of the literary topos of the storm, his large stage props, machinery and change of scenes. In Dionysalexandros it discusses the role of costume and disguise, arguing that it constitutes a major aspect of the comedy's enagagement with Dionysiac initiation ritual. Finally, by looking at Pytine and Dionysalexandros it explores how Cratinus' use of imagery and personification was realized in performance and shaped the stage action.Less
Chapter 5 explores dramaturgical and stagecraft aspects of Cratinus' comedies. First it discusses the construction and use of dramatic space in Odysseis, Plutoi, Nemesis, and Seriphioi, especially in the opening scenes. It also explores Cratinus' dramatization of the literary topos of the storm, his large stage props, machinery and change of scenes. In Dionysalexandros it discusses the role of costume and disguise, arguing that it constitutes a major aspect of the comedy's enagagement with Dionysiac initiation ritual. Finally, by looking at Pytine and Dionysalexandros it explores how Cratinus' use of imagery and personification was realized in performance and shaped the stage action.
Siu Wang-Ngai
- Published in print:
- 2013
- Published Online:
- September 2014
- ISBN:
- 9789888208265
- eISBN:
- 9789888268252
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208265.001.0001
- Subject:
- Society and Culture, Asian Studies
Chinese opera embraces over 360 different styles of theatre that make one of the richest performance arts in the world. It combines music, speech, poetry, mime, acrobatics, stage fighting, vivid ...
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Chinese opera embraces over 360 different styles of theatre that make one of the richest performance arts in the world. It combines music, speech, poetry, mime, acrobatics, stage fighting, vivid face-painting and exquisite costumes. First experiences of Chinese opera can be baffling because its vocabulary of stagecraft is familiar only to the seasoned aficionado. Chinese Opera: The Actor's Craft makes the experience more accessible for everyone. This book uses breath-taking images of Chinese opera in performance by Hong Kong photographer Siu Wang-Ngai to illustrate and explain Chinese opera stage technique. The book explores costumes, gestures, mime, acrobatics, props and stage techniques. Each explanation is accompanied by an example of its use in an opera and is illustrated by in-performance photographs. Chinese Opera: The Actor's Craft provides the reader with a basic grammar for understanding uniquely Chinese solutions to staging drama.Less
Chinese opera embraces over 360 different styles of theatre that make one of the richest performance arts in the world. It combines music, speech, poetry, mime, acrobatics, stage fighting, vivid face-painting and exquisite costumes. First experiences of Chinese opera can be baffling because its vocabulary of stagecraft is familiar only to the seasoned aficionado. Chinese Opera: The Actor's Craft makes the experience more accessible for everyone. This book uses breath-taking images of Chinese opera in performance by Hong Kong photographer Siu Wang-Ngai to illustrate and explain Chinese opera stage technique. The book explores costumes, gestures, mime, acrobatics, props and stage techniques. Each explanation is accompanied by an example of its use in an opera and is illustrated by in-performance photographs. Chinese Opera: The Actor's Craft provides the reader with a basic grammar for understanding uniquely Chinese solutions to staging drama.
Christopher B. Balme
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198184447
- eISBN:
- 9780191674266
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198184447.003.0006
- Subject:
- Literature, Drama
The body as a material presence possesses semiotic possibilities which have always been used in theatre. This chapter describes the semiotics of the performing body. It looks at the textuality of the ...
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The body as a material presence possesses semiotic possibilities which have always been used in theatre. This chapter describes the semiotics of the performing body. It looks at the textuality of the body in terms of physical appearance and iconographic display, and analyse the dramaturgical and theatrical strategies that utilize the performer's body as a cultural and artistic test. Three categories are proposed under which syncretic dramatists and directors use the materiality of the body as a theatrical strategy: effacement, resemanticization, and mythologization. This chapter also analyses the use of masks and mask-like costumes in Western syncretic theatre. The use of masks particularly underlines the necessity of viewing masking as part of a semiotics of the performing body.Less
The body as a material presence possesses semiotic possibilities which have always been used in theatre. This chapter describes the semiotics of the performing body. It looks at the textuality of the body in terms of physical appearance and iconographic display, and analyse the dramaturgical and theatrical strategies that utilize the performer's body as a cultural and artistic test. Three categories are proposed under which syncretic dramatists and directors use the materiality of the body as a theatrical strategy: effacement, resemanticization, and mythologization. This chapter also analyses the use of masks and mask-like costumes in Western syncretic theatre. The use of masks particularly underlines the necessity of viewing masking as part of a semiotics of the performing body.
Dúnlaith Bird
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199644162
- eISBN:
- 9780199949984
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199644162.003.0005
- Subject:
- Literature, European Literature
Cross-dressing in women’s travel writing of the nineteenth and twentieth centuries can be seen as a carnivalesque affair, featuring bearded ladies and flamboyant Queens. Using the performative gender ...
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Cross-dressing in women’s travel writing of the nineteenth and twentieth centuries can be seen as a carnivalesque affair, featuring bearded ladies and flamboyant Queens. Using the performative gender theories of Judith Butler and Marjorie Garber, this chapter questions the extent to which such theatrical cross-dressing allows European women travel writers to transgress social boundaries in their home and host countries. The first section of this chapter considers Jane Dieulafoy’s painstaking construction of textual legitimacy for her cross-dressing, which both invokes and abjures the legacy of bearded Queens by displacing it along Oriental cultural fault lines. It then examines the tensions that emerge in Isabella Bird’s travelogues as a result of the author’s determination to convincingly perform femininity in the Orient for her British audience. The final section explores Isabelle Eberhardt’s more radical constructions of linguistic and physical gender vagabondage in Algeria and Tunisia, and the restrictive social mechanisms they provoke.Less
Cross-dressing in women’s travel writing of the nineteenth and twentieth centuries can be seen as a carnivalesque affair, featuring bearded ladies and flamboyant Queens. Using the performative gender theories of Judith Butler and Marjorie Garber, this chapter questions the extent to which such theatrical cross-dressing allows European women travel writers to transgress social boundaries in their home and host countries. The first section of this chapter considers Jane Dieulafoy’s painstaking construction of textual legitimacy for her cross-dressing, which both invokes and abjures the legacy of bearded Queens by displacing it along Oriental cultural fault lines. It then examines the tensions that emerge in Isabella Bird’s travelogues as a result of the author’s determination to convincingly perform femininity in the Orient for her British audience. The final section explores Isabelle Eberhardt’s more radical constructions of linguistic and physical gender vagabondage in Algeria and Tunisia, and the restrictive social mechanisms they provoke.
Tim Scholl
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300099560
- eISBN:
- 9780300128826
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300099560.001.0001
- Subject:
- Music, History, Western
In 1999 the Maryinsky (formerly Kirov) Ballet and Theater in St. Petersburg re-created its 1890 production of Sleeping Beauty. The revival showed the classic work in its original sets and costumes ...
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In 1999 the Maryinsky (formerly Kirov) Ballet and Theater in St. Petersburg re-created its 1890 production of Sleeping Beauty. The revival showed the classic work in its original sets and costumes and restored pantomime and choreography that had been eliminated over the past century. Nevertheless, the work proved unexpectedly controversial, with many Russian dance professionals and historians denouncing it. In order to understand how a historically informed performance could be ridiculed by those responsible for writing the history of Russian and Soviet ballet, this book explores the tradition, ideology, and popular legend that have shaped the development of Sleeping Beauty. In the process, it provides a history of Russian and Soviet ballet during the twentieth century.Less
In 1999 the Maryinsky (formerly Kirov) Ballet and Theater in St. Petersburg re-created its 1890 production of Sleeping Beauty. The revival showed the classic work in its original sets and costumes and restored pantomime and choreography that had been eliminated over the past century. Nevertheless, the work proved unexpectedly controversial, with many Russian dance professionals and historians denouncing it. In order to understand how a historically informed performance could be ridiculed by those responsible for writing the history of Russian and Soviet ballet, this book explores the tradition, ideology, and popular legend that have shaped the development of Sleeping Beauty. In the process, it provides a history of Russian and Soviet ballet during the twentieth century.
Ellen Cheshire
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231172059
- eISBN:
- 9780231850681
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231172059.001.0001
- Subject:
- Film, Television and Radio, Film
This book offers a series of case studies that throw light on the type of films that are collectively known as bio-pics. It asks whether the bio-pic is a genre in its own right, or whether such films ...
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This book offers a series of case studies that throw light on the type of films that are collectively known as bio-pics. It asks whether the bio-pic is a genre in its own right, or whether such films are merely footnotes to other more traditional genres such as western or costume dramas. It shows how bio-pics, unlike other genre forms, seem to share no familiar iconography, codes, or conventions. They can be set anywhere and at any time. It argues that what links them is, quite simply, the fact that the films depict the life of an “important” person. Through a carefully selected range of thematically linked (English-language) bio-pics released since 1990, this book explores key issues surrounding their resurgence, narrative structure and production. It also looks at the issue of subject representation or misrepresentation in bio-pics and the critical response these type of films have engendered. The films under discussion are grouped around a number of professions (writers, singers, politicians, sportsmen, criminals, artists). This allows for comparisons to be drawn about the way in which similar subject matter is approached.Less
This book offers a series of case studies that throw light on the type of films that are collectively known as bio-pics. It asks whether the bio-pic is a genre in its own right, or whether such films are merely footnotes to other more traditional genres such as western or costume dramas. It shows how bio-pics, unlike other genre forms, seem to share no familiar iconography, codes, or conventions. They can be set anywhere and at any time. It argues that what links them is, quite simply, the fact that the films depict the life of an “important” person. Through a carefully selected range of thematically linked (English-language) bio-pics released since 1990, this book explores key issues surrounding their resurgence, narrative structure and production. It also looks at the issue of subject representation or misrepresentation in bio-pics and the critical response these type of films have engendered. The films under discussion are grouped around a number of professions (writers, singers, politicians, sportsmen, criminals, artists). This allows for comparisons to be drawn about the way in which similar subject matter is approached.
Michael Goddard
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231167314
- eISBN:
- 9780231850506
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231167314.001.0001
- Subject:
- Film, Television and Radio, Film
Raúl Ruiz, while considered one of the world's most significant filmmakers by several film critics, is yet to be the subject of any thorough engagement with his work. This book sets out on this task ...
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Raúl Ruiz, while considered one of the world's most significant filmmakers by several film critics, is yet to be the subject of any thorough engagement with his work. This book sets out on this task by mapping, as fully as possible, Ruiz's cinematic trajectory across more than five decades of prolific work, up to his death in 2011; ranging from his earliest work in Chile to high-budget “European” costume dramas culminating in Mysteries of Lisbon (2010). It does so by treating Ruiz's work—with its surrealist, magic realist, popular cultural, and neo-Baroque sources—as a type of “impossible” cinematic cartography, mapping real, imaginary, and virtual spaces, and crossing between different cultural contexts, aesthetic strategies, and technical media. It argues that across the different phases of Ruiz's work identified, there are key continuities such as the invention of singular cinematic images and the interrogation of their possible and impossible combinations.Less
Raúl Ruiz, while considered one of the world's most significant filmmakers by several film critics, is yet to be the subject of any thorough engagement with his work. This book sets out on this task by mapping, as fully as possible, Ruiz's cinematic trajectory across more than five decades of prolific work, up to his death in 2011; ranging from his earliest work in Chile to high-budget “European” costume dramas culminating in Mysteries of Lisbon (2010). It does so by treating Ruiz's work—with its surrealist, magic realist, popular cultural, and neo-Baroque sources—as a type of “impossible” cinematic cartography, mapping real, imaginary, and virtual spaces, and crossing between different cultural contexts, aesthetic strategies, and technical media. It argues that across the different phases of Ruiz's work identified, there are key continuities such as the invention of singular cinematic images and the interrogation of their possible and impossible combinations.
Bruce Vermazen
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195372182
- eISBN:
- 9780199864140
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372182.003.0009
- Subject:
- Music, History, American
In October 1914, the Six Brown Brothers were given a featured spot in Chin Chin, a Broadway musical produced by C. B. Dillingham and starring Fred Stone and David Montgomery. Theresa Valerio danced ...
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In October 1914, the Six Brown Brothers were given a featured spot in Chin Chin, a Broadway musical produced by C. B. Dillingham and starring Fred Stone and David Montgomery. Theresa Valerio danced in the chorus. Chin Chin lasted until December 1915 in New York, then toured the United States until April 1917, when Montgomery died. Because of their appearance in the show, the Brown Brothers became more famous and resumed their recording career, this time with the Victor Talking Machine Company. In 1916, F. Henri Klickmann became their chief arranger. This chapter describes the prior careers of Montgomery and Stone, Chin Chin, the Brown Brothers' first Victor records, and the growth of the Brown Brothers' fame. For this show, five Brown Brothers began wearing Pierrot clown costumes, a trademark of the act until its dissolution, while Tom continued to work in blackface.Less
In October 1914, the Six Brown Brothers were given a featured spot in Chin Chin, a Broadway musical produced by C. B. Dillingham and starring Fred Stone and David Montgomery. Theresa Valerio danced in the chorus. Chin Chin lasted until December 1915 in New York, then toured the United States until April 1917, when Montgomery died. Because of their appearance in the show, the Brown Brothers became more famous and resumed their recording career, this time with the Victor Talking Machine Company. In 1916, F. Henri Klickmann became their chief arranger. This chapter describes the prior careers of Montgomery and Stone, Chin Chin, the Brown Brothers' first Victor records, and the growth of the Brown Brothers' fame. For this show, five Brown Brothers began wearing Pierrot clown costumes, a trademark of the act until its dissolution, while Tom continued to work in blackface.
Bruce Bennett
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231167376
- eISBN:
- 9780231850537
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231167376.001.0001
- Subject:
- Film, Television and Radio, Film
This study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through his eclectic and controversial body of work. It ...
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This study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through his eclectic and controversial body of work. It undertakes a close analysis of a TV series directed by Winterbottom and sixteen of his films ranging from television dramas to transnational co-productions featuring Hollywood stars, and from documentaries to costume films. The critique is centred on Winterbottom’s collaborative working practices, political and cultural contexts, and critical reception. Arguing that his work delineates a ‘cinema of borders’, the book examines Winterbottom’s treatment of sexuality, class, ethnicity, and national and international politics, as well as his quest to adequately narrate inequality, injustice, and violence.Less
This study of prolific British filmmaker Michael Winterbottom explores the thematic, stylistic, and intellectual consistencies running through his eclectic and controversial body of work. It undertakes a close analysis of a TV series directed by Winterbottom and sixteen of his films ranging from television dramas to transnational co-productions featuring Hollywood stars, and from documentaries to costume films. The critique is centred on Winterbottom’s collaborative working practices, political and cultural contexts, and critical reception. Arguing that his work delineates a ‘cinema of borders’, the book examines Winterbottom’s treatment of sexuality, class, ethnicity, and national and international politics, as well as his quest to adequately narrate inequality, injustice, and violence.
Keith Garebian
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199732494
- eISBN:
- 9780199894482
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199732494.001.0001
- Subject:
- Music, Popular
This book is the most detailed production history to date of the original Broadway version of Cabaret, showing primarily how the show evolved from Christopher Isherwood's Berlin stories (especially ...
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This book is the most detailed production history to date of the original Broadway version of Cabaret, showing primarily how the show evolved from Christopher Isherwood's Berlin stories (especially the Sally Bowles novella), into John van Druten's stage play, a British film adaptation, and then the Broadway musical, conceived and directed by Harold Prince as an early concept musical or metamusical. The book shows how Prince was able to find his central metaphor that was appropriate to Weimar society as well as to American society in the sixties. It places this cabaret metaphor within a contextual history of cabaret. Tracing the gradual evolution of Joe Masteroff's libretto (through three versions), the book analyzes the musical's main metaphor, structure, music and lyrics (John Kander and Fred Ebb), design (sets by Boris Aronson, lighting by Jean Rosenthal, costumes by Patricia Zipprodt), choreography (Ron Field), casting, and rehearsals, arguing that though the original version was limited by social and political mores of its day, it set a new standard and path for the American musical, drawing attention to its own theatrical artifice (including camp). The book ends with an examination of the first London version (1968), Bob Fosse's 1972 film version, Hal Prince's 1987 Broadway remount, Sam Mendes's stunning 1998 production, Rufus Norris's London reimagining (2006), and Amanda Dehnert's new investigation for the Stratford Festival of Canada (2006), and it speculates on what the future holds for this musical. The book contains forty illustrations, full cast credits, and a bibliography.Less
This book is the most detailed production history to date of the original Broadway version of Cabaret, showing primarily how the show evolved from Christopher Isherwood's Berlin stories (especially the Sally Bowles novella), into John van Druten's stage play, a British film adaptation, and then the Broadway musical, conceived and directed by Harold Prince as an early concept musical or metamusical. The book shows how Prince was able to find his central metaphor that was appropriate to Weimar society as well as to American society in the sixties. It places this cabaret metaphor within a contextual history of cabaret. Tracing the gradual evolution of Joe Masteroff's libretto (through three versions), the book analyzes the musical's main metaphor, structure, music and lyrics (John Kander and Fred Ebb), design (sets by Boris Aronson, lighting by Jean Rosenthal, costumes by Patricia Zipprodt), choreography (Ron Field), casting, and rehearsals, arguing that though the original version was limited by social and political mores of its day, it set a new standard and path for the American musical, drawing attention to its own theatrical artifice (including camp). The book ends with an examination of the first London version (1968), Bob Fosse's 1972 film version, Hal Prince's 1987 Broadway remount, Sam Mendes's stunning 1998 production, Rufus Norris's London reimagining (2006), and Amanda Dehnert's new investigation for the Stratford Festival of Canada (2006), and it speculates on what the future holds for this musical. The book contains forty illustrations, full cast credits, and a bibliography.
Maya Plisetskaya
- Published in print:
- 2001
- Published Online:
- October 2013
- ISBN:
- 9780300088571
- eISBN:
- 9780300130713
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300088571.003.0027
- Subject:
- Music, Dance
In this chapter, Maya Plisetskaya talks about how she dressed as a ballerina, what she wore, and where and from whom she bought her wardrobe. She reveals that everything she wore was purchased from ...
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In this chapter, Maya Plisetskaya talks about how she dressed as a ballerina, what she wore, and where and from whom she bought her wardrobe. She reveals that everything she wore was purchased from Klara, a sorceress who lived in Moscow who had other clients at the Bolshoi Ballet. Nikita Khrushchev once told Maya that she was dressed beautifully and asked whether she was rich. She strongly believed that that her ballets Anna Karenina, The Seagull, and Lady with the Dog received recognition due to Pierre Cardin's costumes.Less
In this chapter, Maya Plisetskaya talks about how she dressed as a ballerina, what she wore, and where and from whom she bought her wardrobe. She reveals that everything she wore was purchased from Klara, a sorceress who lived in Moscow who had other clients at the Bolshoi Ballet. Nikita Khrushchev once told Maya that she was dressed beautifully and asked whether she was rich. She strongly believed that that her ballets Anna Karenina, The Seagull, and Lady with the Dog received recognition due to Pierre Cardin's costumes.
Elaine Frantz Parsons
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9781469625423
- eISBN:
- 9781469625447
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469625423.003.0001
- Subject:
- History, African-American History
The Klan was founded not by southern plantation owners but by politically moderate, fairly cosmopolitan, border-state professionals in Pulaski, Tennessee. These young white men, facing the political, ...
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The Klan was founded not by southern plantation owners but by politically moderate, fairly cosmopolitan, border-state professionals in Pulaski, Tennessee. These young white men, facing the political, economic, and cultural collapse of the South in the wake of the war, developed the Klan as a diversion. Yet from the beginning they understood the potential political significance of southern social and cultural organizations such as the Klan, particularly as they confronted a confident and competent group of emerging black leaders in Pulaski. Because of their liminal position between North and South, the Pulaski Ku-Klux drew heavily on ideas circulating in the urban North. The Pulaski Klansmen understood the problem of the Reconstruction-era Klan as a problem of modernity and provided a way for the defeated southern white man to position himself in terms of the modern. This chapter explores the Klan’s slow beginnings in Pulaski, arguing that its growth was later than historians have understood, and traces its transformation into a violent and explicitly political organization more than one year after its beginnings.Less
The Klan was founded not by southern plantation owners but by politically moderate, fairly cosmopolitan, border-state professionals in Pulaski, Tennessee. These young white men, facing the political, economic, and cultural collapse of the South in the wake of the war, developed the Klan as a diversion. Yet from the beginning they understood the potential political significance of southern social and cultural organizations such as the Klan, particularly as they confronted a confident and competent group of emerging black leaders in Pulaski. Because of their liminal position between North and South, the Pulaski Ku-Klux drew heavily on ideas circulating in the urban North. The Pulaski Klansmen understood the problem of the Reconstruction-era Klan as a problem of modernity and provided a way for the defeated southern white man to position himself in terms of the modern. This chapter explores the Klan’s slow beginnings in Pulaski, arguing that its growth was later than historians have understood, and traces its transformation into a violent and explicitly political organization more than one year after its beginnings.
Elaine Frantz Parsons
- Published in print:
- 2016
- Published Online:
- May 2016
- ISBN:
- 9781469625423
- eISBN:
- 9781469625447
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469625423.003.0002
- Subject:
- History, African-American History
Klan attacks took on distinct cultural forms. Ku-Klux borrowed their costume and violent performance not only from local culture, but also from popular cultural tropes in national circulation and ...
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Klan attacks took on distinct cultural forms. Ku-Klux borrowed their costume and violent performance not only from local culture, but also from popular cultural tropes in national circulation and heavily featured in minstrelsy, burlesque, circus, and carnivals. In deliberately mimicking these cultural forms, they put themselves in conversation with the northern, urban centers where so much of the naturally circulating popular culture was produced. Many of the images Ku-Klux borrowed were already weighted with a host of meanings about race, gender, and social order. Ku-Klux imported these meanings into their attacks, which they frequently used to reinforce racist cultural narratives: depicting black victims as comically overembodied and lacking in integrity. Klan victims responded not only to the violence of their attacks but also to the cultural meanings embedded in them. Depending on their circumstances and strategy, they could try to save themselves suffering by performing the minstrel roles they understood to be expected. Or they could refuse to inhabit those roles, and instead use the attack itself, and their later narration of it, to challenge the assumptions inherent in the popular cultural tropes the Ku-Klux were mobilizing.Less
Klan attacks took on distinct cultural forms. Ku-Klux borrowed their costume and violent performance not only from local culture, but also from popular cultural tropes in national circulation and heavily featured in minstrelsy, burlesque, circus, and carnivals. In deliberately mimicking these cultural forms, they put themselves in conversation with the northern, urban centers where so much of the naturally circulating popular culture was produced. Many of the images Ku-Klux borrowed were already weighted with a host of meanings about race, gender, and social order. Ku-Klux imported these meanings into their attacks, which they frequently used to reinforce racist cultural narratives: depicting black victims as comically overembodied and lacking in integrity. Klan victims responded not only to the violence of their attacks but also to the cultural meanings embedded in them. Depending on their circumstances and strategy, they could try to save themselves suffering by performing the minstrel roles they understood to be expected. Or they could refuse to inhabit those roles, and instead use the attack itself, and their later narration of it, to challenge the assumptions inherent in the popular cultural tropes the Ku-Klux were mobilizing.
