Abstract
AbstractThis article explores operatic costumes from a perspective of cultural exchange, with a focus on Giuseppe Sarti, first director of the permanent opera theatre in Copenhagen. Sarti's Danish audience had almost no prior exposure to opera and little understanding of Italian. After a disastrous first season, he took measures to realise more successful productions of Italian opera in a context of migration, notably by focusing on the costumes to bypass language differences. I argue here that the theatrical costumes commissioned by Sarti were crucial tools for transmitting and adapting the operatic genre to its new context, functioning as visual signifiers and as body technology. They represented the audience's first encounter with the character and conveyed crucial information about dramaturgy.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
