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How to Catch the Devil? Performance Materiality and Meyerbeer's Robert le Diable
Theatre Research International Pub Date : 2020-11-04 , DOI: 10.1017/s0307883320000310
T. SOFIE TAUBERT

Stage machinery enters the historical narrative often enough through mishaps and interruptions. This article takes as its starting point a report of the Paris opera director Véron in order to think about the role of materiality in the analysis of past performances. The occasion, depicted in the report, is the opening night of Robert le Diable, written by Eugène Scribe and composed by Giacomo Meyerbeer. The article discusses two key questions on the historiographic value of the report as a source for performance analysis. (1) How can we unfold the performativity of a past performance through archival documents? (2) What is the impact of the materiality of machinery, bodies and space in the theatrical interplay?

中文翻译:

如何抓住恶魔?性能重要性和 Meyerbeer 的 Robert le Diable

舞台机械经常通过意外和中断进入历史叙事。本文以巴黎歌剧院导演韦龙的一篇报道为出发点,以思考物质性在过去表演分析中的作用。报告中描述的那个场合是开幕之夜罗伯特·勒迪亚布尔,由 Eugène Scribe 撰写,Giacomo Meyerbeer 作曲。本文讨论了报告作为绩效分析来源的历史价值的两个关键问题。(1)我们如何通过档案文件展开过去表演的表演性?(2) 机械、身体和空间的物质性在戏剧互动中有何影响?
更新日期:2020-11-04
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