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Author: Sarah Hibberd Publisher: Ashgate Publishing, Ltd. ISBN: 9781409400820 Category : Music Languages : en Pages : 326
Book Description
The genre of mélodrame à grand spectacle that emerged in the boulevard theatres of Paris in the 1790s - and which was quickly exported abroad - expressed the moral struggle between good and evil through a drama of heightened emotions. The premise of this volume is the idea that the melodramatic aesthetic is central to our understanding of nineteenth-century music drama, broadly defined as spoken plays with music, operas and other hybrid genres that combine music with text and/or image.
Author: Sarah Hibberd Publisher: Ashgate Publishing, Ltd. ISBN: 9781409400820 Category : Music Languages : en Pages : 326
Book Description
The genre of mélodrame à grand spectacle that emerged in the boulevard theatres of Paris in the 1790s - and which was quickly exported abroad - expressed the moral struggle between good and evil through a drama of heightened emotions. The premise of this volume is the idea that the melodramatic aesthetic is central to our understanding of nineteenth-century music drama, broadly defined as spoken plays with music, operas and other hybrid genres that combine music with text and/or image.
Author: Sarah Hibberd Publisher: Routledge ISBN: 1317097939 Category : Music Languages : en Pages : 314
Book Description
The genre of mélodrame à grand spectacle that emerged in the boulevard theatres of Paris in the 1790s - and which was quickly exported abroad - expressed the moral struggle between good and evil through a drama of heightened emotions. Physical gesture, mise en scène and music were as important in communicating meaning and passion as spoken dialogue. The premise of this volume is the idea that the melodramatic aesthetic is central to our understanding of nineteenth-century music drama, broadly defined as spoken plays with music, operas and other hybrid genres that combine music with text and/or image. This relationship is examined closely, and its evolution in the twentieth century in selected operas, musicals and films is understood as an extension of this nineteenth-century aesthetic. The book therefore develops our understanding of opera in the context of melodrama's broader influence on musical culture during the nineteenth and twentieth centuries. This book will appeal to those interested in film studies, drama, theatre and modern languages as well as music and opera.
Author: Katherine Hambridge Publisher: University of Chicago Press ISBN: 022656309X Category : Music Languages : en Pages : 295
Book Description
We seem to see melodrama everywhere we look—from the soliloquies of devastation in a Dickens novel to the abject monstrosity of Frankenstein’s creation, and from Louise Brooks’s exaggerated acting in Pandora’s Box to the vicissitudes endlessly reshaping the life of a brooding Don Draper. This anthology proposes to address the sometimes bewilderingly broad understandings of melodrama by insisting on the historical specificity of its genesis on the stage in late-eighteenth-century Europe. Melodrama emerged during this time in the metropolitan centers of London, Paris, Vienna, and Berlin through stage adaptations of classical subjects and gothic novels, and they became famous for their use of passionate expression and spectacular scenery. Yet, as contributors to this volume emphasize, early melodramas also placed sound at center stage, through their distinctive—and often disconcerting—alternations between speech and music. This book draws out the melo of melodrama, showing the crucial dimensions of sound and music for a genre that permeates our dramatic, literary, and cinematic sensibilities today. A richly interdisciplinary anthology, The Melodramatic Moment will open up new dialogues between musicology and literary and theater studies.
Author: Jonathan Goldberg Publisher: Duke University Press ISBN: 0822374048 Category : Literary Criticism Languages : en Pages : 193
Book Description
Offering a new queer theorization of melodrama, Jonathan Goldberg explores the ways melodramatic film and literature provide an aesthetics of impossibility. Focused on the notion of what Douglas Sirk termed the "impossible situation" in melodrama, such as impasses in sexual relations that are not simply reflections of social taboo and prohibitions, Goldberg pursues films by Rainer Werner Fassbinder and Todd Haynes that respond to Sirk's prompt. His analysis hones in on melodrama's original definition--a form combining music and drama--as he explores the use of melodrama in Beethoven's opera Fidelio, films by Alfred Hitchcock, and fiction by Willa Cather and Patricia Highsmith, including her Ripley novels. Goldberg illuminates how music and sound provide queer ways to promote identifications that exceed the bounds of the identity categories meant to regulate social life. The interaction of musical, dramatic, and visual elements gives melodrama its indeterminacy, making it resistant to normative forms of value and a powerful tool for creating new potentials.
Author: Marian Wilson Kimber Publisher: University of Illinois Press ISBN: 025209915X Category : Performing Arts Languages : en Pages : 348
Book Description
Emerging in the 1850s, elocutionists recited poetry or drama with music to create a new type of performance. The genre--dominated by women--achieved remarkable popularity. Yet the elocutionists and their art fell into total obscurity during the twentieth century. Marian Wilson Kimber restores elocution with music to its rightful place in performance history. Gazing through the lenses of gender and genre, Wilson Kimber argues that these female artists transgressed the previous boundaries between private and public domains. Their performances advocated for female agency while also contributing to a new social construction of gender. Elocutionists, proud purveyors of wholesome entertainment, pointedly contrasted their "acceptable" feminine attributes against those of morally suspect actresses. As Wilson Kimber shows, their influence far outlived their heyday. Women, the primary composers of melodramatic compositions, did nothing less than create a tradition that helped shape the history of American music.
Author: Michael V. Pisani Publisher: University of Iowa Press ISBN: 1609382307 Category : Performing Arts Languages : en Pages : 415
Book Description
Throughout the nineteenth century, people heard more music in the theatre—accompanying popular dramas such as Frankenstein, Oliver Twist, Uncle Tom’s Cabin, Lady Audley’s Secret, The Corsican Brothers, The Three Musketeers, as well as historical romances by Shakespeare and Schiller—than they did in almost any other area of their lives. But unlike film music, theatrical music has received very little attention from scholars and so it has been largely lost to us. In this groundbreaking study, Michael V. Pisani goes in search of these abandoned sounds. Mining old manuscripts and newspapers, he finds that starting in the 1790s, theatrical managers in Britain and the United States began to rely on music to play an interpretive role in melodramatic productions. During the nineteenth century, instrumental music—in addition to song—was a common feature in the production of stage plays. The music played by instrumental ensembles not only enlivened performances but also served other important functions. Many actors and actresses found that accompanimental music helped them sustain the emotional pitch of a monologue or dialogue sequence. Music also helped audiences to identify the motivations of characters. Playwrights used music to hold together the hybrid elements of melodrama, heighten the build toward sensation, and dignify the tragic pathos of villains and other characters. Music also aided manager-directors by providing cues for lighting and other stage effects. Moreover, in a century of seismic social and economic changes, music could provide a moral compass in an uncertain moral universe. Featuring dozens of musical examples and images of the old theatres, Music for the Melodramatic Theatre charts the progress of the genre from its earliest use in the eighteenth century to the elaborate stage productions of the very early twentieth century.
Author: Reni Ernst Publisher: GRIN Verlag ISBN: 3638883930 Category : Literary Criticism Languages : en Pages : 11
Book Description
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,0, University College Dublin (Faculty of Arts; School of English and Drama), language: English, abstract: In the following essay I will examine the term melodrama and its features. Accompanying I will give an account of the melodramatic components of the 19th century novel Jane Eyre by Charlotte Brontë. Both, melodrama and Jane Eyre, had their biggest impetus in the 19th century, thus have specific elements in common. Although Jane Eyre is not a drama to be played on stage it still concludes several melodramatic attributes, which will be specified after analyzing the term melodrama. The term melo originates from the Greek word melos, meaning music, which together with the annex drama simply refers to a stage play accompanied with music. Jean Jacques Rousseau is said to have firstly used a method of linking words with music in Pygmalion of 1770. In early 19th century use, melodrama referred to a stage play with interspersing songs and actors supported by music. By the end of the century the term had almost exclusively narrowed down to a dramatic piece marked by sensations, appeals to the emotions and a happy ending. Nevertheless music remained and still remains a crucial element to emphasize and intensify characters and scenes presented on stage and nowadays particularly in films. This musical element can also be found in the novels primarily of the 19th century expressed in a specific literary style, Brooks describes as follows:
Author: Sarah Hibberd
Author: Sarah Hibberd
Author: Sarah Hibberd
Author: Carolyn Williams
Author: Katherine Hambridge
Author: Jonathan Goldberg
Author: Joanne Cormac
Author: Marian Wilson Kimber
Author: Michael V. Pisani
Author: Edgar S. Werner
Author: Reni Ernst