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Costumes and Cosmopolitanism: Italian Opera in the North
Cambridge Opera Journal Pub Date : 2020-11-24 , DOI: 10.1017/s0954586720000105
Christine Jeanneret

This article explores operatic costumes from a perspective of cultural exchange, with a focus on Giuseppe Sarti, first director of the permanent opera theatre in Copenhagen. Sarti's Danish audience had almost no prior exposure to opera and little understanding of Italian. After a disastrous first season, he took measures to realise more successful productions of Italian opera in a context of migration, notably by focusing on the costumes to bypass language differences. I argue here that the theatrical costumes commissioned by Sarti were crucial tools for transmitting and adapting the operatic genre to its new context, functioning as visual signifiers and as body technology. They represented the audience's first encounter with the character and conveyed crucial information about dramaturgy.

中文翻译:

服装与世界主义:北方的意大利歌剧

本文从文化交流的角度探讨歌剧服饰,重点关注哥本哈根永久性歌剧院的首任导演朱塞佩·萨尔蒂。Sarti 的丹麦观众几乎没有接触过歌剧,对意大利语也知之甚少。在经历了灾难性的第一季之后,他采取措施在移民的背景下实现更成功的意大利歌剧制作,特别是通过专注于服装以绕过语言差异。我在这里争辩说,萨尔蒂委托的戏剧服装是传递和调整歌剧体裁以适应新语境的重要工具,起到视觉符号和身体技术的作用。它们代表了观众与角色的第一次相遇,并传达了有关戏剧的重要信息。
更新日期:2020-11-24
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