Other available formats:
Looking for an examination copy?
If you are interested in the title for your course we can consider offering an examination copy. To register your interest please contact email@example.com providing details of the course you are teaching.
Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. Dance and Drama in French Baroque Opera exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement - present in every act of every opera - is essential to understanding the work. The book considers the operas of Lully - his lighter works as well as his tragedies - and the 46-year period between the death of Lully and the arrival of Rameau, when influences from the commedia dell'arte and other theatres began to inflect French operatic practices. It explores the intersections of musical, textual, choreographic and staging practices at a complex institution - the Académie Royale de Musique - which upheld as a fundamental aesthetic principle the integration of dance into opera.Read more
- Proposes a new view of the role of dance in French opera of the seventeenth and early eighteenth centuries
- Considers the operas of Lully and his successors from a variety of perspectives and demonstrates connections between theatrical practices at the lofty Paris Opera and the low-brow theaters in Paris
- Readers will gain a richer understanding of Parisian theatrical life that integrates discussions of music, dance and theatrical structure in clear language
- Provides resources that amplify the discussions in the text, including numerous illustrations, music examples and tables
01st Apr 2017 by Catherineturocy
RHWarrick has delivered what the early music and dance scene has needed for the past four decades! Finally, dance is given its place alongside the other arts as she deftly steers us through her indepth research on the meaning of dance in the context of opera and how dance is an equal player in performance and the development of French opera. In fact, dance defines French opera and it is the element which made French opera so appealing to the rest of Europe that each nation employed French dancing masters or at least pseudo French dancing masters! This book is a must-read for all practitioners involved in performance and for all scholars who are not familiar with intelligent analysis of dance history. As you can see, I cannot contain my enthusiasm!
Review was not posted due to profanity×
- Date Published: December 2016
- format: Hardback
- isbn: 9781107137899
- length: 502 pages
- dimensions: 254 x 180 x 26 mm
- weight: 1.13kg
- contains: 40 b/w illus. 56 music examples
- availability: In stock
Table of Contents
Part I. Lully:
1. The dramaturgy of Lully's divertissements
2. Constructing the divertissement
3. Dance foundations
4. Dance practices on stage
6. The lighter side of Lully
Part II. The Rival Muses in the Age of Campra:
7. The muses take the stage
8. Thalie, muse of comedy
9. Thalie visits the fairs
10. The contested comic
11. Melpomène, muse of tragedy
12. Melpomène adapts
13. Terpsichore, muse of the dance
14. In the traces of Terpsichore
Appendix 1. Works performed at the Académie Royale de Musique, 1695–1732, in which the impact of the comédie italienne can be seen
Appendix 2. A partial list of performances consisting of 'fragments', 1702–32
Appendix 3. The choreographies danced at the Opéra contextualized.
Welcome to the resources site
Here you will find free-of-charge online materials to accompany this book. The range of materials we provide across our academic and higher education titles are an integral part of the book package whether you are a student, instructor, researcher or professional.
Find resources associated with this titleYour search for '' returned .
Type Name Unlocked * Format Size
*This title has one or more locked files and access is given only to instructors adopting the textbook for their class. We need to enforce this strictly so that solutions are not made available to students. To gain access to locked resources you either need first to sign in or register for an account.
These resources are provided free of charge by Cambridge University Press with permission of the author of the corresponding work, but are subject to copyright. You are permitted to view, print and download these resources for your own personal use only, provided any copyright lines on the resources are not removed or altered in any way. Any other use, including but not limited to distribution of the resources in modified form, or via electronic or other media, is strictly prohibited unless you have permission from the author of the corresponding work and provided you give appropriate acknowledgement of the source.
If you are having problems accessing these resources please email firstname.lastname@example.org
Sorry, this resource is locked
Please register or sign in to request access. If you are having problems accessing these resources please email email@example.comRegister Sign in
You are now leaving the Cambridge University Press website. Your eBook purchase and download will be completed by our partner www.ebooks.com. Please see the permission section of the www.ebooks.com catalogue page for details of the print & copy limits on our eBooks.Continue ×