luiz costa lima neto (15 Ergebnisse)

Paperback. Zustand: New. NEW; "Meticulosamente pesquisado, este é um estudo fascinante e esclarecedor sobre o papel que a música desempenhou na vida teatral do Brasil pós-independência. Graças ao trabalho de Costa-Lima Neto, nós podemos agora apreciar devidamente o modo pelo qual as comédias musicais de Martins Penna, à sombra da escravidão, conseguiram atravessar, de forma astuciosa, os mundos da burguesia e da cultura popular do Rio de Janeiro do século XIX" - David Treece - King s College London "Tendo como pano de fundo o comércio de escravos no Rio de Janeiro Imperial, Luiz Costa-Lima Neto fala da carreira e das restrições impostas ao dramaturgo, diplomata e músico Luiz Carlos Martins Penna (1915-1848), o fundador da comédia de costumes brasileira. (.) Ele descr eve em detalhes doze dessas comédias (.) e ao fazê-lo contribui de forma significativa para a história teatral, musical e social"- David Cranmer - Universidade Nova de Lisboa. "O amplo estudo de Costa-Lima Neto consegue nos conduzir de forma profu nda ao contexto social e cultural de Martins Penna, o verdadeiro berço da cultura popular e da música brasileira - entre a Europa e África" Giorgio Monari - Universitá di Roma / Sapienza; 414 pages.

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HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In.

Zustand: New.

Hardcover. Zustand: new. Hardcover. This book clarifies the musical dramaturgy of comedy writer and musician Luiz Carlos Martins Penna (1815-48) a notion that encompasses both the theatrical text and its performance. The corpus for this analysis is composed of twelve comedies by Martins Penna written between 1833 and 1846, divided into three groups, which I have called Lundu, Aria, and Alleluia. The sound universe made up by the three groups of comedies covers African-Brazilian genres and musical-choreographic styles (batuque, fado, lundu, miudinho, muquirao), the transnational urban popular universe (lundu, tirana, quadrilha, marcha, waltz, caxuxa, tonadilla, polka), and modinhas and Italian opera, in addition to romantic concertos, Gregorian chant and Iberian religious theater (loas).To evaluate the multiple meanings acquired by the musical allusions inserted into the comedy texts and theatrical performances, this research reveals the network which included the author, actors, theater owners, publishers and the public, and other agents, such as black Catholic irmandades (brotherhoods), Freemasonry, and institutions linked to the imperial government.The sound universe of the comedies of Martins Penna are compared to the comedic axes of the Western theatrical tradition (a study of situations and characters) and the axes of performance (solo and chorus), contemplating the relationship between the repertoires written by Martins Penna and the repertoires of Brazilians and Portuguese artists, a mix of actors, singers and dancers, who performed in his comedies.The research questions the notion of authorship and reveals the importance of the partnership between theatrical writers, artists and publishers, through which the comedies of Martins Penna have reached the second half of the nineteenth century through the present. Luiz Carlos Martins Penna was a formative figure in Brazilian theater, creating the comedy of manners in the period after the country gained its independence in 1822. This book examines the interactions of music, theater, and society in Martins Pennas body of work, exploring music theater, music history, and theater history in the Americas. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

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Hardcover. Zustand: Brand New. 376 pages. 9.50x6.25x1.00 inches. In Stock.

Hardcover. Zustand: new. Hardcover. This book clarifies the musical dramaturgy of comedy writer and musician Luiz Carlos Martins Penna (1815-48) a notion that encompasses both the theatrical text and its performance. The corpus for this analysis is composed of twelve comedies by Martins Penna written between 1833 and 1846, divided into three groups, which I have called Lundu, Aria, and Alleluia. The sound universe made up by the three groups of comedies covers African-Brazilian genres and musical-choreographic styles (batuque, fado, lundu, miudinho, muquirao), the transnational urban popular universe (lundu, tirana, quadrilha, marcha, waltz, caxuxa, tonadilla, polka), and modinhas and Italian opera, in addition to romantic concertos, Gregorian chant and Iberian religious theater (loas).To evaluate the multiple meanings acquired by the musical allusions inserted into the comedy texts and theatrical performances, this research reveals the network which included the author, actors, theater owners, publishers and the public, and other agents, such as black Catholic irmandades (brotherhoods), Freemasonry, and institutions linked to the imperial government.The sound universe of the comedies of Martins Penna are compared to the comedic axes of the Western theatrical tradition (a study of situations and characters) and the axes of performance (solo and chorus), contemplating the relationship between the repertoires written by Martins Penna and the repertoires of Brazilians and Portuguese artists, a mix of actors, singers and dancers, who performed in his comedies.The research questions the notion of authorship and reveals the importance of the partnership between theatrical writers, artists and publishers, through which the comedies of Martins Penna have reached the second half of the nineteenth century through the present. Luiz Carlos Martins Penna was a formative figure in Brazilian theater, creating the comedy of manners in the period after the country gained its independence in 1822. This book examines the interactions of music, theater, and society in Martins Pennas body of work, exploring music theater, music history, and theater history in the Americas. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Zustand: New. pp. 346.

Buch. Zustand: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - This book clarifies the musical dramaturgy of comedy writer and musician Luiz Carlos Martins Penna (1815-48) - a notion that encompasses both the theatrical text and its performance. The corpus for this analysis is composed of twelve comedies by Martins Penna written between 1833 and 1846, divided into three groups, which I have called Lundu, Aria, and Alleluia. The sound universe made ¿¿up by the three groups of comedies covers African-Brazilian genres and musical-choreographic styles (batuque, fado, lundu, miudinho, muquirão), the transnational urban popular universe (lundu, tirana, quadrilha, marcha, waltz, caxuxa, tonadilla, polka), and modinhas and Italian opera, in addition to romantic concertos, Gregorian chant and Iberian religious theater (loas).To evaluate the multiple meanings acquired by the musical allusions inserted into the comedy texts and theatrical performances, this research reveals the network which included the author, actors, theater owners, publishers and the public, and other agents, such as black Catholic irmandades (brotherhoods), Freemasonry, and institutions linked to the imperial government.The sound universe of the comedies of Martins Penna are compared to the comedic axes of the Western theatrical tradition (a study of situations and characters) and the axes of performance (solo and chorus), contemplating the relationship between the repertoires written by Martins Penna and the repertoires of Brazilians and Portuguese artists, a mix of actors, singers and dancers, who performed in his comedies.The research questions the notion of authorship and reveals the importance of the partnership between theatrical writers, artists and publishers, through which the comedies of Martins Penna have reached the second half of the nineteenth century through the present.

Gebunden. Zustand: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Luiz Carlos Martins Penna was a formative figure in Brazilian theater, creating the comedy of manners in the period after the country gained its independence in 1822. This book examines the interactions of music, theater, and society in Martins Penna s body.

Zustand: New. Print on Demand pp. 346.

Zustand: New. PRINT ON DEMAND pp. 346.