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Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: An informative and enjoyable read for both scholars and nonspecialists, whether in dance or in opera. Marian Smith's views are refreshingly new and show unknown facets of the Romantic ballet, discussed with admirable accuracy. Works that survived only as exotic or mysterious titles in dance history manuals thus regain their long lost identities and their historical significance. Those who work in the field of dance reconstruction will especially benefit from this book. Buchnummer des Verkäufers

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Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opéra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres.


Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle.


Klappentext:

"Now that opera studies have finally recognized the importance of the visual, a book that reveals the web of reciprocities that existed between ballet and opera during a particularly lively period in the history of both will undoubtedly find a wide readership. The information, presented here through judicious examples chosen from both repertoires, is utterly fascinating and brand new."--Rebecca Harris-Warrick, Cornell University


"An informative and enjoyable read for both scholars and nonspecialists, whether in dance or in opera. Marian Smith's views are refreshingly new and show unknown facets of the Romantic ballet, discussed with admirable accuracy. Works that survived only as exotic or mysterious titles in dance history manuals thus regain their long lost identities and their historical significance. Those who work in the field of dance reconstruction will especially benefit from this book."--Giannandrea Poesio, University of Surrey


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Buchbeschreibung Princeton University Press, United States, 2010. Paperback. Buchzustand: New. 231 x 155 mm. Language: English . Brand New Book. Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opera (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opera during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The divorce between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. Buchnummer des Verkäufers AAH9780691146492

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Buchbeschreibung Princeton University Press, United States, 2010. Paperback. Buchzustand: New. 231 x 155 mm. Language: English . Brand New Book. Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opera (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opera during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The divorce between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. Buchnummer des Verkäufers AAH9780691146492

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Buchbeschreibung Princeton University Press, 2011. PAP. Buchzustand: New. New Book. Shipped from US within 10 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000. Buchnummer des Verkäufers IQ-9780691146492

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Buchbeschreibung Princeton University Press, 2010. Paperback. Buchzustand: New. book. Buchnummer des Verkäufers 0691146497

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Buchbeschreibung Princeton Univ Pr, 2010. Paperback. Buchzustand: Brand New. 288 pages. 9.25x6.25x0.75 inches. In Stock. Buchnummer des Verkäufers __0691146497

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Buchbeschreibung 2010. Paperback. Buchzustand: New. 156mm x 18mm x 234mm. Paperback. Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opera (from the 1830s through t.Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 306 pages. 0.463. Buchnummer des Verkäufers 9780691146492

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Buchbeschreibung Princeton University Press. Paperback. Buchzustand: New. Paperback. 288 pages. Dimensions: 9.1in. x 6.1in. x 1.0in.Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The divorce between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Buchnummer des Verkäufers 9780691146492

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Buchbeschreibung 2010. Paperback. Buchzustand: New. 156mm x 18mm x 234mm. Paperback. Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opera (from the 18.Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. 306 pages. 0.463. Buchnummer des Verkäufers 9780691146492

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