D. R. M. Irving
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195378269
- eISBN:
- 9780199864614
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195378269.003.0008
- Subject:
- Music, Ethnomusicology, World Music
This chapter examines six areas of musical performance that were governed or influenced by ecclesiastical decrees or governmental legislation: Asian musics, vernacular‐language vocal music in sacred ...
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This chapter examines six areas of musical performance that were governed or influenced by ecclesiastical decrees or governmental legislation: Asian musics, vernacular‐language vocal music in sacred contexts (such as villancicos), musical practices for Marian devotions, liturgical music and the use of instruments in churches, theatrical performances, and music in processions, celebrations, and feasts. It draws on sources including manuals published by religious orders for the regulation of parochial life, religious statutes and ordinances, Papal Bulls, royal decrees, and archiepiscopal decrees. It also examines musical references found in the proceedings of the Provincial Council of Manila (1771) and the Synod of Calasiao (1773).Less
This chapter examines six areas of musical performance that were governed or influenced by ecclesiastical decrees or governmental legislation: Asian musics, vernacular‐language vocal music in sacred contexts (such as villancicos), musical practices for Marian devotions, liturgical music and the use of instruments in churches, theatrical performances, and music in processions, celebrations, and feasts. It draws on sources including manuals published by religious orders for the regulation of parochial life, religious statutes and ordinances, Papal Bulls, royal decrees, and archiepiscopal decrees. It also examines musical references found in the proceedings of the Provincial Council of Manila (1771) and the Synod of Calasiao (1773).
EDITH HALL
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780199298891
- eISBN:
- 9780191711459
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199298891.003.0012
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter takes the argument out of the theatre and into the lawcourts, one of the contexts which most clearly reveals the increasingly theatrical tenor (or ‘cast’) of Athenian society at large ...
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This chapter takes the argument out of the theatre and into the lawcourts, one of the contexts which most clearly reveals the increasingly theatrical tenor (or ‘cast’) of Athenian society at large and of its public discourses. In a survey of the corpus of legal oratory from classical Athens, it is argued that the analogy between a trial and a theatrical performance was close and multilayered. There were strong similarities between the writing of roles for a play and the composition of speeches for delivery in court; there was a considerable degree of overlap between what was expected of tragic actors and litigants in terms of vocal performance.Less
This chapter takes the argument out of the theatre and into the lawcourts, one of the contexts which most clearly reveals the increasingly theatrical tenor (or ‘cast’) of Athenian society at large and of its public discourses. In a survey of the corpus of legal oratory from classical Athens, it is argued that the analogy between a trial and a theatrical performance was close and multilayered. There were strong similarities between the writing of roles for a play and the composition of speeches for delivery in court; there was a considerable degree of overlap between what was expected of tragic actors and litigants in terms of vocal performance.
Thomas Strychacz
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9780813031613
- eISBN:
- 9780813038926
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813031613.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
The goal of this book is nothing less than to turn scholarship on gender and modernism on its head. The book focuses on the way some early twentieth-century writers portray masculinity as theatrical ...
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The goal of this book is nothing less than to turn scholarship on gender and modernism on its head. The book focuses on the way some early twentieth-century writers portray masculinity as theatrical performance, and examines why scholars have generally overlooked that fact. It argues that writers such as Conrad, Hemingway, and Lawrence—often viewed as misogynist—actually represented masculinity in their works in terms of theatrical and rhetorical performances. They are theatrical in the sense that male characters keep staging themselves in competitive displays, rhetorical in the sense that these characters, and the very narrative form of the works in which they appear, render masculinity a kind of persuasive argument readers can and should debate. Perhaps most interesting is the book's contention that scholarship has obscured the fact that often these writers were quite critical of masculinity. The book invokes the Schwarzeneggarian “girly man” and borrows from the theories of Judith Butler and Bertolt Brecht to fashion a critical method with which to explore the ways in which scholars gender texts by the very act of reading.Less
The goal of this book is nothing less than to turn scholarship on gender and modernism on its head. The book focuses on the way some early twentieth-century writers portray masculinity as theatrical performance, and examines why scholars have generally overlooked that fact. It argues that writers such as Conrad, Hemingway, and Lawrence—often viewed as misogynist—actually represented masculinity in their works in terms of theatrical and rhetorical performances. They are theatrical in the sense that male characters keep staging themselves in competitive displays, rhetorical in the sense that these characters, and the very narrative form of the works in which they appear, render masculinity a kind of persuasive argument readers can and should debate. Perhaps most interesting is the book's contention that scholarship has obscured the fact that often these writers were quite critical of masculinity. The book invokes the Schwarzeneggarian “girly man” and borrows from the theories of Judith Butler and Bertolt Brecht to fashion a critical method with which to explore the ways in which scholars gender texts by the very act of reading.
Jody Enders
- Published in print:
- 2009
- Published Online:
- February 2013
- ISBN:
- 9780226207834
- eISBN:
- 9780226207858
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226207858.001.0001
- Subject:
- Literature, Early and Medieval Literature
Over fifty years ago, it became unfashionable—even forbidden—for students of literature to talk about an author's intentions for a given work. This book resurrects the long-disgraced concept of ...
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Over fifty years ago, it became unfashionable—even forbidden—for students of literature to talk about an author's intentions for a given work. This book resurrects the long-disgraced concept of intentionality, especially as it relates to the theater. Drawing on four medieval events in which a theatrical performance precipitated deadly consequences, the author contends that the marginalization of intention in critical discourse is a mirror for the marginalization—and misunderstanding—of theater. The book revisits the legal, moral, ethical, and aesthetic limits of the living arts of the past, pairing them with examples from the present, whether they be reality television, snuff films, the “accidental” live broadcast of a suicide on a Los Angeles freeway, or an actor who jokingly fired a stage revolver at his temple, causing his eventual death. This book will force scholars and students to rethink their assumptions about theory, intention, and performance, both past and present.Less
Over fifty years ago, it became unfashionable—even forbidden—for students of literature to talk about an author's intentions for a given work. This book resurrects the long-disgraced concept of intentionality, especially as it relates to the theater. Drawing on four medieval events in which a theatrical performance precipitated deadly consequences, the author contends that the marginalization of intention in critical discourse is a mirror for the marginalization—and misunderstanding—of theater. The book revisits the legal, moral, ethical, and aesthetic limits of the living arts of the past, pairing them with examples from the present, whether they be reality television, snuff films, the “accidental” live broadcast of a suicide on a Los Angeles freeway, or an actor who jokingly fired a stage revolver at his temple, causing his eventual death. This book will force scholars and students to rethink their assumptions about theory, intention, and performance, both past and present.
W. Anthony Sheppard
- Published in print:
- 2001
- Published Online:
- May 2012
- ISBN:
- 9780520223028
- eISBN:
- 9780520924741
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520223028.003.0001
- Subject:
- Music, Performing Practice/Studies
For much of the twentieth century, a good deal of compositional energy that might otherwise have been devoted to opera was redirected to the quest for new forms of theatrical-musical performance. ...
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For much of the twentieth century, a good deal of compositional energy that might otherwise have been devoted to opera was redirected to the quest for new forms of theatrical-musical performance. Several composers who created relatively few operas, or none at all, composed numerous theatrical works of various sorts—staged works that fit neither the operatic nor balletic molds. Alternatively, the career of a composer otherwise committed to opera composition might contain a period of experimentation with new theatrical genres. A higher vantage point is required to appreciate the amount of compositional activity devoted to the theater in the twentieth century. The multitude of works that cannot easily be labeled “opera,” “play,” or “ballet” indicates the need for a broader and more flexible term, thus “music theater”.Less
For much of the twentieth century, a good deal of compositional energy that might otherwise have been devoted to opera was redirected to the quest for new forms of theatrical-musical performance. Several composers who created relatively few operas, or none at all, composed numerous theatrical works of various sorts—staged works that fit neither the operatic nor balletic molds. Alternatively, the career of a composer otherwise committed to opera composition might contain a period of experimentation with new theatrical genres. A higher vantage point is required to appreciate the amount of compositional activity devoted to the theater in the twentieth century. The multitude of works that cannot easily be labeled “opera,” “play,” or “ballet” indicates the need for a broader and more flexible term, thus “music theater”.
Barbara Watson Andaya
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780520254435
- eISBN:
- 9780520941519
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520254435.003.0001
- Subject:
- History, World Medieval History
The ritual restatement of authority so necessary to the maintenance of kingship represents a common thread in Southeast Asian history. The phrase “theater state” effectively deployed by Clifford ...
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The ritual restatement of authority so necessary to the maintenance of kingship represents a common thread in Southeast Asian history. The phrase “theater state” effectively deployed by Clifford Geertz in relation to Bali is eminently applicable even in places where Europeans condescendingly equated the “king” to one of their own provincial mayors. Whether in these enhanced chiefdoms or in larger courts like those of Java or Burma, ceremonial life was “an assertion of spiritual power.” In this performance of power, women were indispensable, usually in supporting roles but at times as directors and lead actors. Notwithstanding regional differences in language, culture, and historical experience, “palace women” across Southeast Asia can be considered in terms of the enactment of royal status, which, by separating a ruler from his subjects, justified and maintained the rationale on which kingship rested. This chapter looks at women and the performance of power in early modern Southeast Asia. It discusses the purpose of royal polygyny, women's roles at royal courts and in the enactment of royal power, women's theatrical performances, and life cycle rituals.Less
The ritual restatement of authority so necessary to the maintenance of kingship represents a common thread in Southeast Asian history. The phrase “theater state” effectively deployed by Clifford Geertz in relation to Bali is eminently applicable even in places where Europeans condescendingly equated the “king” to one of their own provincial mayors. Whether in these enhanced chiefdoms or in larger courts like those of Java or Burma, ceremonial life was “an assertion of spiritual power.” In this performance of power, women were indispensable, usually in supporting roles but at times as directors and lead actors. Notwithstanding regional differences in language, culture, and historical experience, “palace women” across Southeast Asia can be considered in terms of the enactment of royal status, which, by separating a ruler from his subjects, justified and maintained the rationale on which kingship rested. This chapter looks at women and the performance of power in early modern Southeast Asia. It discusses the purpose of royal polygyny, women's roles at royal courts and in the enactment of royal power, women's theatrical performances, and life cycle rituals.
Laurence Senelick and Sergei Ostrovsky
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780300194760
- eISBN:
- 9780300211351
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300194760.003.0008
- Subject:
- History, Cultural History
This chapter examines events in the history of Soviet theater and arts from 1939 to 1945. During this period, theater at the front became a civic duty, a form of military service. Performing under ...
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This chapter examines events in the history of Soviet theater and arts from 1939 to 1945. During this period, theater at the front became a civic duty, a form of military service. Performing under the most difficult of circumstances gave rise to diverse forms, the most most elementary being the highly mobile concert brigade, capable of performing a repertoire of poems, songs, scenes from well-known plays, monologues, one-acts, sketches, and the like. From August 1939 to September 1940, some twenty-nine thousand performances of plays and concerts were given by various theatrical units before Soviet soldiers and sailors. Of this number, 3,377 concerts and plays were performed within a single ten-day period dedicated to the twenty-first anniversary of the Red Army and Navy.Less
This chapter examines events in the history of Soviet theater and arts from 1939 to 1945. During this period, theater at the front became a civic duty, a form of military service. Performing under the most difficult of circumstances gave rise to diverse forms, the most most elementary being the highly mobile concert brigade, capable of performing a repertoire of poems, songs, scenes from well-known plays, monologues, one-acts, sketches, and the like. From August 1939 to September 1940, some twenty-nine thousand performances of plays and concerts were given by various theatrical units before Soviet soldiers and sailors. Of this number, 3,377 concerts and plays were performed within a single ten-day period dedicated to the twenty-first anniversary of the Red Army and Navy.
David S. Cunningham
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780190243920
- eISBN:
- 9780190243951
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190243920.003.0007
- Subject:
- Religion, Religion and Society
This chapter addresses the thorny question of whether vocation, by its very nature, implies an agent, a “caller”; and if so, whether this agent can or should necessarily be identified as God. Is some ...
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This chapter addresses the thorny question of whether vocation, by its very nature, implies an agent, a “caller”; and if so, whether this agent can or should necessarily be identified as God. Is some such claim about vocational agency required by the fact that most of the language and literature of vocation is tied to various theistic religious traditions? By developing an extended analogy to the ways that the audience is addressed in a theatrical performance, this chapter argues that, even though the language of vocation requires the acknowledgement of an addressing agent, this does not mean that the agent can be perfectly described (as is also the case in drama, and in the theological doctrine of revelation). The chapter concludes by recommending a certain degree of “vocational reserve”; since the nature and character of the “caller” can never be fully known, vocational discernment is necessarily an ongoing process.Less
This chapter addresses the thorny question of whether vocation, by its very nature, implies an agent, a “caller”; and if so, whether this agent can or should necessarily be identified as God. Is some such claim about vocational agency required by the fact that most of the language and literature of vocation is tied to various theistic religious traditions? By developing an extended analogy to the ways that the audience is addressed in a theatrical performance, this chapter argues that, even though the language of vocation requires the acknowledgement of an addressing agent, this does not mean that the agent can be perfectly described (as is also the case in drama, and in the theological doctrine of revelation). The chapter concludes by recommending a certain degree of “vocational reserve”; since the nature and character of the “caller” can never be fully known, vocational discernment is necessarily an ongoing process.
