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An aesthetic, historical, and theoretical study of four scores, "Russian Opera and the Symbolist Movement "is a groundbreaking and imaginative treatment of the important yet neglected topic of Russian opera in the Silver Age. Spanning the gap between the supernatural Russian music of the nineteenth ...

An aesthetic, historical, and theoretical study of four scores, "Russian Opera and the Symbolist Movement "is a groundbreaking and imaginative treatment of the important yet neglected topic of Russian opera in the Silver Age. Spanning the gap between the supernatural Russian music of the nineteenth century and the compositions of Prokofiev and Stravinsky, this exceptionally insightful and well-researched book explores how Russian symbolist poets interpreted opera and prompted operatic innovation. Simon Morrison shows how these works, though stylistically and technically different, reveal the extent to which the operatic representation of the miraculous can be translated into its enactment.

Morrison treats these largely unstudied pieces by canonical composers: Tchaikovsky's "Queen of Spades, "Rimsky-Korsakov's "Legend of the Invisible City of Kitezh and the Maiden Fevroniya, "Scriabin's unfinished "Mysterium, "and Prokofiev's "Fiery Angel. "The chapters, revisionist studies of these composers and scores, address separate aspects of Symbolist poetics, discussing such topics as literary and musical decadence, pagan-Christian syncretism, theurgy, and life creation, or the portrayal of art in life. The appendix offers the first complete English-language translation of Scriabin's libretto for the "Preparatory Act."

Providing valuable insight into both the Symbolist enterprise and Russian musicology, this book casts new light on opera's evolving, ambiguous place in fin de siecle culture.

Italian Futurist Theatre provides an overview of the theatrical activities of the Italian Futurist movement, headed by F. T. Marinetti. It analyses the theory and practice of Futurist performance, covers the theatre work of all leading artists and writers of the movement, and discusses the principal ...

Italian Futurist Theatre provides an overview of the theatrical activities of the Italian Futurist movement, headed by F. T. Marinetti. It analyses the theory and practice of Futurist performance, covers the theatre work of all leading artists and writers of the movement, and discusses the principal aims and achievements of their theatrical experiments. The main focus of the study is directed towards reconstructing the performance history of Futurist theatre. But it also incorporates aspects of dramatic writing, stage and costume design and theatre architecture, and is heavily illustrated. Although the significance of Futurism for the art and culture of this century is universally acknowledged today, relatively little research has been undertaken with regard to the form of expression that was dearest to the Futurists: theatre. No other art could better demonstrate the movement's concept of 'art as action', propagate its anti-traditionalist stance and demonstrate its modernist aims and aesthetics. Yet the myriads of Futurist experiments in the performing arts have been neglected by scholars, partly because documentation is not easily available, partly because of the inherent problems of reconstructing performances of the past. This volume is the first comprehensive study of Italian Futurist theatre in the English language. It is the result of a major research project, supported by the British Academy, the Italian Ministry of Foreign Affairs, and the Ministry of Cultural Heritage. This highly original book is predominantly based on documents discovered in the course of ten years of extensive investigations in Italian archives, libraries, and private collections.

Best known as the author of such plays as A Doll's House and Hedda Gabler, Henrik Ibsen is one of the most influential figures of modern drama. During the 1890s, his works were staged by radically different avant-garde groups in England and France, a simultaneous cross-cultural exchange that ...

Best known as the author of such plays as A Doll's House and Hedda Gabler, Henrik Ibsen is one of the most influential figures of modern drama. During the 1890s, his works were staged by radically different avant-garde groups in England and France, a simultaneous cross-cultural exchange that demonstrated his centrality to early modernist activity both in the theatre and in other arts. This book locates the basis for an early modernist theatre in the new wave that Ibsen created internationally. Looking specifically at four Ibsen plays and their production and reception in England and France in the early 1890s, Shepherd-Barr examines Ibsen's seminal role in the radical artistic movements of this period.