pular para conteúdo
STAGING AND ITS DRAMATIC EFFECT IN FRENCH BAROQUE OPERA: EVIDENCE FROM PROMPT NOTES I would like to thank Lois Rosow and Rebecca Harris-Warrick, who discussed various aspects of this article with me. My particular thanks go to Victoria Hayne for her close reading of this manuscript and the insightful suggestions that followed.
FecharVer prévia deste item
Checando...

STAGING AND ITS DRAMATIC EFFECT IN FRENCH BAROQUE OPERA: EVIDENCE FROM PROMPT NOTES I would like to thank Lois Rosow and Rebecca Harris-Warrick, who discussed various aspects of this article with me. My particular thanks go to Victoria Hayne for her close reading of this manuscript and the insightful suggestions that followed.

Autor: ANTONIA L BANDUCCI
Editora: Cambridge University Press
Edição/Formato Artigo Artigo : Inglês
Fonte:Eighteenth Century Music, 1, no. 1 (2004): 5-28
Classificação:

(ainda não classificado) 0 com críticas - Seja o primeiro.

&AllPage.SpinnerRetrieving;

Encontrar uma cópia on-line

Links para este periódico/publicação

Encontrar uma cópia na biblioteca

&AllPage.SpinnerRetrieving; Encontrando bibliotecas que possuem este item...

Detalhes

Tipo de Documento Artigo
Todos os Autores / Contribuintes: ANTONIA L BANDUCCI
ISSN:1478-5706
Nota do Idioma: English
Idenficador Único: 366094806
Prêmios:
Descrição: 24

Críticas

Críticas contribuídas por usuários
Recuperando críticas GoodReas...
Recuperando comentários DOGObooks

Etiquetas

Seja o primeiro.
Confirmar esta solicitação

Você já pode ter solicitado este item. Por favor, selecione Ok se gostaria de proceder com esta solicitação de qualquer forma.

Dados Ligados


\n\n

Primary Entity<\/h3>\n
<http:\/\/www.worldcat.org\/oclc\/366094806<\/a>> # STAGING AND ITS DRAMATIC EFFECT IN FRENCH BAROQUE OPERA: EVIDENCE FROM PROMPT NOTES I would like to thank Lois Rosow and Rebecca Harris-Warrick, who discussed various aspects of this article with me. My particular thanks go to Victoria Hayne for her close reading of this manuscript and the insightful suggestions that followed.<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Article<\/a>, schema:CreativeWork<\/a> ;\u00A0\u00A0\u00A0\nlibrary:oclcnum<\/a> \"366094806<\/span>\" ;\u00A0\u00A0\u00A0\nschema:creator<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4368156906#Person\/banducci_antonia_l<\/a>> ; # ANTONIA L. BANDUCCI<\/span>\n\u00A0\u00A0\u00A0\nschema:datePublished<\/a> \"2004-03-01<\/span>\" ;\u00A0\u00A0\u00A0\nschema:description<\/a> \"The staging of trag\u00E9dies en musique and related genres remains an elusive aspect of French baroque opera. Although scores and librettos supply some information (through scene rubrics and the sung text), several rare sets of prompt notes provide us with many more specific details. The prompt notes fall into two categories: those that illustrate a dramatic convention and those that illustrate individual artistic choices. Both make notable differences in dramatic effect. Choristers and dancers are almost exclusively blocked as a single, collective body while the entrance of soloists to instrumental music often determines the dramatic function of pr\u00E9ludes and ritournelles, sometimes accompanying mute acting or conveying meaning when the stage is empty. The prompt notes show that the genre, generally thought of as tradition-bound, also elicited dramatic interpretations from those responsible for staging. An appendix provides a glossed list of the more than fifty prompt notes for a 1778 proposed production of Lully’s Armide.<\/span>\" ;\u00A0\u00A0\u00A0\nschema:exampleOfWork<\/a> <http:\/\/worldcat.org\/entity\/work\/id\/4368156906<\/a>> ;\u00A0\u00A0\u00A0\nschema:inLanguage<\/a> \"en<\/span>\" ;\u00A0\u00A0\u00A0\nschema:isPartOf<\/a> <http:\/\/worldcat.org\/issn\/1478-5706#1_1<\/a>> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"STAGING AND ITS DRAMATIC EFFECT IN FRENCH BAROQUE OPERA: EVIDENCE FROM PROMPT NOTES I would like to thank Lois Rosow and Rebecca Harris-Warrick, who discussed various aspects of this article with me. My particular thanks go to Victoria Hayne for her close reading of this manuscript and the insightful suggestions that followed.<\/span>\" ;\u00A0\u00A0\u00A0\nschema:pageStart<\/a> \"5<\/span>\" ;\u00A0\u00A0\u00A0\nschema:productID<\/a> \"366094806<\/span>\" ;\u00A0\u00A0\u00A0\nschema:publication<\/a> <http:\/\/www.worldcat.org\/title\/-\/oclc\/#PublicationEvent\/cambridge_university_press<\/a>> ;\u00A0\u00A0\u00A0\nschema:publisher<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4368156906#Agent\/cambridge_university_press<\/a>> ; # Cambridge University Press<\/span>\n\u00A0\u00A0\u00A0\nwdrs:describedby<\/a> <http:\/\/www.worldcat.org\/title\/-\/oclc\/366094806<\/a>> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n\n

Related Entities<\/h3>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4368156906#Agent\/cambridge_university_press<\/a>> # Cambridge University Press<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nbgn:Agent<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"Cambridge University Press<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/experiment.worldcat.org\/entity\/work\/data\/4368156906#Person\/banducci_antonia_l<\/a>> # ANTONIA L. BANDUCCI<\/span>\n\u00A0\u00A0\u00A0\u00A0a \nschema:Person<\/a> ;\u00A0\u00A0\u00A0\nschema:name<\/a> \"ANTONIA L. BANDUCCI<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/worldcat.org\/issn\/1478-5706<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:Periodical<\/a> ;\u00A0\u00A0\u00A0\nrdfs:label<\/a> \"Eighteenth Century Music<\/span>\" ;\u00A0\u00A0\u00A0\nschema:issn<\/a> \"1478-5706<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/worldcat.org\/issn\/1478-5706#1<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:PublicationVolume<\/a> ;\u00A0\u00A0\u00A0\nschema:isPartOf<\/a> <http:\/\/worldcat.org\/issn\/1478-5706<\/a>> ;\u00A0\u00A0\u00A0\nschema:volumeNumber<\/a> \"1<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/worldcat.org\/issn\/1478-5706#1_1<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:PublicationIssue<\/a> ;\u00A0\u00A0\u00A0\nschema:datePublished<\/a> \"2004-03-01<\/span>\" ;\u00A0\u00A0\u00A0\nschema:isPartOf<\/a> <http:\/\/worldcat.org\/issn\/1478-5706#1<\/a>> ;\u00A0\u00A0\u00A0\nschema:issueNumber<\/a> \"1<\/span>\" ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/www.worldcat.org\/title\/-\/oclc\/#PublicationEvent\/cambridge_university_press<\/a>>\u00A0\u00A0\u00A0\u00A0a \nschema:PublicationEvent<\/a> ;\u00A0\u00A0\u00A0\nschema:organizer<\/a> <http:\/\/experiment.worldcat.org\/entity\/work\/data\/4368156906#Agent\/cambridge_university_press<\/a>> ; # Cambridge University Press<\/span>\n\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n
<http:\/\/www.worldcat.org\/title\/-\/oclc\/366094806<\/a>>\u00A0\u00A0\u00A0\u00A0a \ngenont:InformationResource<\/a>, genont:ContentTypeGenericResource<\/a> ;\u00A0\u00A0\u00A0\nschema:about<\/a> <http:\/\/www.worldcat.org\/oclc\/366094806<\/a>> ; # STAGING AND ITS DRAMATIC EFFECT IN FRENCH BAROQUE OPERA: EVIDENCE FROM PROMPT NOTES I would like to thank Lois Rosow and Rebecca Harris-Warrick, who discussed various aspects of this article with me. My particular thanks go to Victoria Hayne for her close reading of this manuscript and the insightful suggestions that followed.<\/span>\n\u00A0\u00A0\u00A0\nschema:dateModified<\/a> \"2020-04-14<\/span>\" ;\u00A0\u00A0\u00A0\nvoid:inDataset<\/a> <http:\/\/purl.oclc.org\/dataset\/econline<\/a>> ;\u00A0\u00A0\u00A0\u00A0.\n\n\n<\/div>\n\n

Content-negotiable representations<\/p>\n