Paris Opera Research Articles

The Media Gallery

Abstract: This column begins with a review of tenor Lawrence Brownlee’s recording “Rising,” which was the basis of his performance at the Knoxville NATS conference. That is followed by a review of “The Art Song Podcast.” The final review is of the revised streaming service of the Paris Opera, Paris Opera Play (POP).

Visualisation of Images and Performance in Music Genres

The purpose of the article is to analyse the visual component in the musical genre (songs) and musical-theatrical genre (ballet), which is an element for the formation of spectacle. The work methodology includes analytical, structural-functional, generalising scientific methods; techniques of comparative analysis to reveal the specifics of modern artistic practices in revealing the specifics of the visual as a component of spectacle. The scientific novelty of the work consists in the analysis of the song “Smerekova Khata”, the musical and stage performance of the “Gerdan” theatre, the ballet “Signs” with the determination of the visualisation of the images laid down by the authors to form the spectacle. Conclusions. Based on the analysis of M. Bakay and P. Dvorskyi's song “Smerekova Khata”, the dependence of visualisation in musical-poetic composition and music, metaphoricity in musical-poetic images in various performing interpretations with a certain amount of spectacularity according to the definition of “spectacularity” in the dictionary of Efron and Brockhaus is determined as a concert, performance. The analysis of the concert performance of the Chernivtsi City Folklore Theatre-Studio “Gherdan” based on the musical and textual material, stage design and costumes of the performers made it possible to reveal the degree of visualisation of musical and stage images that contribute to spectacle in art according to K. Stanislavska's concept as a spectacle with an artistic structure, which is a system of means of expression with external manifestations. The French-American dancer-choreographer Carolyn Carlson's ballet “Signes” (1997, Paris Opera) with scenery by the French artist Olivier Debre and electronic music by the French composer René Aubry fully meets all the parameters of spectacle: a) unusual events that appeal to history with famous heroes Leonardo da Vinci and Gioconda with her outstanding smile; b) entertainment in the presentation of material with the use of three-dimensional pictures that are constantly moving; c) seven different locations; d) lack of verbal text (words), which are compensated by electronic music and choreographic movements.

Los dibujos del escenógrafo Charles Ciceri (1782-1868) El mundo a escena: entre la evocación romántica y la precisión positivista

Set designers’ drawings have a similar instrumental character to painters’ drawings, but unlike painters’ drawings, set designers’ drawings refer to works that are not exhibited in museums, are not studied by art historians and, for the most part, are not preserved. These circumstances explain the usual reluctance to approach set designers’ drawings. However, these drawings have similar characteristics to those of contemporary painters and can give a very accurate picture of the spirit of an era. This is the case with the drawings of Charles Ciceri (1782‑1868), chief decorator at the Paris Opera and the most important set designer of the first half of the 19th century. His drawings, of unquestionable mastery, represent a wide repertoire of sets imbued with a romantic spirit: ancient ruins, medieval fantasies, orientalist evocations, picturesque natures, etc. The typology of the drawings is also varied: sketches from life, sketches and drawings as inventions for final works (decorations, in the case of Ciceri) and drawings with an autonomous value. The variety of techniques and typologies of Ciceri’s drawings is similar to that of the most important painters of the time, although they have a number of specifically ‘theatrical’ nuances, such as the framing of the scenes, the variety of lighting effects, especially the underlining, and – perhaps most importantly – the arrangement in successive planes. These drawings are an exemplary combination of romantic evocation and positivist precision. It is no coincidence that Ciceri was a student, son-in-law and friend of the Romantic painter Isabey, and that his closest collaborator in his early years was Daguerre, inventor of the diorama and father of photography. At this crossroads of aesthetic and multidisciplinary convergences, Ciceri’s drawings are undoubtedly a significant expression of the drawing art of his time.

Ballet and Celebrity at the Paris Opera, or the Dreams of the Rat

Abstract: The panoramic literature of the July Monarchy (1830–48) depicts the rat or ballet girl to be destined for prostitution, her dream of becoming a star a mere pretext used to exploit her. In my analysis of journalists writing about the young female dancer, I interrogate the neutrality of such sources, contextualizing the dance profession in relation to other employment options available to female women workers of the lower classes and reconsidering the rat as an icon of women's economic and artistic ambitions. While dance was described as essentializing femininity, it promised a transformation of the body and the self that allowed for social mobility, self-expression, and artistic renown. Including accounts from former rats (including Berthe Bernay, Cléo de Mérode, and Judith Gautier) I show how dancing informed their identities, allowing them to imagine alternative realities and giving form to the articulation of their desires for the future.

Becoming an Étoile of the Paris Opera Ballet: The Institutional Origins of Personal Charisma

The destiny of danseur étoile or danseuse étoile (the highest rank a dancer can reach at the Paris Opera Ballet) always appears within the semantic field of “talent” or “gift,” as if to justify something that escapes reason. Rather than offering a causal explanation, this article, which focuses on the Paris Opera Ballet, studies this belief to reveal the roots of what is truly akin to a charismatic recognition, in which the institution plays a fundamental role. Drawing on Max Weber’s theory of charisma, the article shows that the institutional production of charisma is not limited to charisma of office but also concerns the apparently least institutionalized form: personal charisma. The institution acts as much on the representations of individuals as it does on those destined to fulfil the role, by legitimizing their aspirations and allowing them to play the role of étoile. It ensures both the production of a differential stage performance and its reception as the result of personal charisma.

ОТКАЗ ОТ РЕПРЕЗЕНТАЦИИ: ЭКЗОФИКШН МАРИ ДАРЬЕСЕК И КАМИЙ ЛОРАНС

Modern French literature is marked by the flowering of hybrid genres. The article is devoted to the study of novels belonging to exofiction, one of the leading hybrid genres in modern French literature. At the heart of exofiction is the appropriation of someone else’s experience and the entering into someone else’s personal narrative. Instead of the chain of events that organizes the traditional biographical novel, the exofictional narrative focuses on filling in the gaps with the narrator’s personal experience, instead of representation, on the “perceptual autonomy of the narrator” (S.L. Dauthuille). The main motifs of exofictional prose are both the exploration of someone else’s biography and work with the archive, as well as affectivity, which exposes the connection of the narrative to the subject experience. This article deals with two novels by contemporary French women writers: “Être ici est une splendeur” (2016) by Marie Darrieussecq and “La petite danseuse de quatorze ans” (2017) by Camille Laurens. At the center of the narrative of both novels is the story of a biographical character: the German expressionist painter Paula Modersohn-Becker and Marie Geneviève Van Goethem, a dancer at the Paris Opera who posed for Dega’s famous sculpture. Both texts reveal similar thematic areas, in particular, the recontextualization of social and gender issues and the redefinition of the status of women in art, as well as common narrative and genre conventions. These include the hybridization between novel, biography, essay, and research; the special status of the intradiegetic narrator; self-reflexive strategies; as well as the problematization of the boundaries between real and fiction. However, the refusal of representation plays a special role, emphasizing the distinctive dimension of the exofiction. This article analyses the novels by C. Laurens and M. Darrieussecq and identifies genre characteristics of exofiction that works with the specific experience of “Einfühlung”. In analyzing the novels, I explore the aesthetic, ethical and narrative strategies chosen by female writers to work in the hybrid genre. Finally, it is shown how exofiction works with the rejection of representation and how the optics of “women’s writing” supports it.

The Paris Opera Ballet Dancing Offstage

The spaces in which amateur and professional dancers practiced their art greatly changed during the Covid-19 pandemic due to the closures of theaters and dance studios, yet dance continued to bring people together online. This article studies the media presence of the Paris Opera Ballet (POB) between March 2020 and May 2021 to analyze how the aesthetic and moral concept of grace has evolved. During this difficult year, dance took on a therapeutic role as POB dancers offered free online classes and performed in video work, in addition to taking on a political role as discussions about racism in ballet sparked public debates.

Charles Dumoulin's Annotations in a Lyon Edition of the Decretum

Charles Dumoulin's Annotations in a Lyon Edition of the Decretum1 Thomas Izbicki In 1554 Ioannes Pidaeius, a printer in Lyon, published an edition of Gratian's Decretum. The most notable aspect of this edition was the addition of marginal annotations by the jurist Charles Dumoulin (Carolus Molinaeus) on both the text and the Ordinary Gloss. Dumoulin also numbered the canons, but not the paleae, in the Decretum.2 Dumoulin's annotations, signed 'C. M.', combined history, jurisprudence and Gallican ecclesiology. They also showed signs of a sympathy for Reformed theology, which the author had developed by 1540.3 The author of the notes participated in efforts to correct Gratian's text, but he also used history to undermine papal power in the church.4 Dumoulin's controversial opinions led to the edition being placed on the Index together with orders that those annotations be obliterated. As has been noted, efforts to remove these annotations were not universally successful.5 Scholarship on Dumoulin has not treated these marginal notes systematically, nor has it given adequate [End Page 179] attention to the inclusion of the annotations in the seventeenth-century editions of his Opera.6 The controversial opinions of Dumoulin were not new to this edition of the Decretum. His annotations refer to earlier writings and editions. The writings were: Commentarii in consuetudines Parisienses (begun in 1539);7 De usuris (1547);8 Commentarius ad edictum Henrici secondi contra parvas datas et abusus Curiae Romanae (1550); Commentarius analyticus in regulas Cancellariae Romanae hactenus in regno Franciae receptas (1552).9 The editions were of the Consilia of Alexander of Imola (1543) and the works of Philippus Decius (1553). (Decius was a jurist who had supported the effort of the 'conciliabulum' of Pisa [1512-1517]to depose Pope Julius II).10 In addition, Dumoulin had contributed annotations to a 1553 edition of the Liber extra or Decretals of Gregory IX.11 Careful study of a copy of the Lyon 1554 edition, reveals more than just censorship of Dumoulin's signed notes. Texts [End Page 180] signed 'C. M.' occasionally were ignored, and wrongly attributed notes (as will be seen) were censored. In addition, Dumoulin's notes were inserted where there already were summaries or glosses signed with the sigla of earlier canonists. (Those authors most often cited were Laurentius Hispanus, Huguccio of Pisa, Guido de Baysio (archdeacon of Bologna and known as the Archdeacon rather than as Guido de Baysio) and Johannes de Fantutiis.) In addition, the references in the Paris Opera can be incomplete because of omissions or incorrect, citing as Dumoulin's texts not attributable to him. How Dumoulin's annotations were inserted alongside earlier materials can be shown by looking at the glossed text to Si papa[D.40 c.6], which dealt with the legal vulnerability of a pope who fell into doctrinal error. Earlier editions of the Decretum provided brief notes concerning the contents of the canon's glosses by Johannes Teutonicus. The Paris 1539 edition of the Decretum provides an example of such notes:12 p.44va: 'Prelati tacere non debent. Papa iudicatur a nemine', a note to Johannes Teutonicus' gloss s.v. A nemine. p.44va: 'Papa an de crimine accusari possit', also attached to A nemine. p. 44va:A note that was an addition to Johannes Teutonicus' gloss A nemines.v. dicitur heresis: 'Dic quod hereticus dicitur pluribus modis: vt nota. xxiiii. q. iii. Inter (C.24 q.3 c.26) et extra. de here. Firmissime (X 5.7.3)'. p.44va: Also an addition to Teutonicus' gloss s.v. Si peccauerit in te frater tuus:'vt ii. q. i. si peccauerit'. p.44va: Also an addition to Teutonicus' gloss s.v. esset denunciatio: 'Sub. etiam denunciatio fit ad correctionem ad quam compelli non potestcum superiorem non habeat. Arc.' citing a text of Guido de Baysio on D.40 c.6.13 p.44va: A comment on the end of Teutonicus' gloss but without a lemma: 'Imperator pro quo peccato deponi potest'? The Lyon 1554 edition inserts a note by Dumoulin after these marginal comments on p.131a: 'Prelati tacere non debent. Papa iudicatur a nemine'. [End Page 181] p.131a-b: D.40...

Особенности творческого метода Э. Дега в интерпретации темы «Балет Парижской оперы»

The article considers methodological approaches to the interpretation of the dance subject on the example of the famous French artist E. Degas (1834-1917) in the context of understanding the school of the Paris Opera Ballet, which is the center of French cultural life and brings new forms of dialogue in the morphological sphere of interaction of related arts. The unflagging interest of researchers to the problems of the works of E. Degas throughout the history of his study, both at the level of a single country, and in the context of world artistic culture determines the undoubted relevance of our narrow topic. The works of Edouard Degas are devoted to the study of the artworks of Russian, but mainly the foreign art critics, however, they do not consider in an in-depth section of ballet themes, paying it not enough attention, despite the fact that it is the first significant experience and even a kind of experiment in the world of fine arts. The aim of the article is to trace the creative activity and special interest of E. Degas in the subject of dance. To reveal and analyze the artist's creative method on exemplary works. To prove the importance of his graphic and pictorial works in the popularization of ballet as art. To work out, clarify and supplement the methodological aspects of approaches to the interpretation of the ballet theme and trends of its development in the creative process by analyzing the specific works of E. Degas which are in museum and private collections. The complex analysis from the viewpoint of art history and theater studies enables us to reveal the genre fusion reflected in the stylistics of the romantic ballet epoch, refracted in the everyday life of dancers at rehearsals and in dance classes, as portrayed by the artist. The author refers to various works of E. Degas, which convey the peculiarities of his impressionistic creative method, accurately capturing the specifics of the French school of classical ballet. The author analyzes his method, which in many respects differs from other impressionist masters, who depicted landscape views and life of Paris and its suburbs in open spaces. It is a fragmentary and at the same time large, unrehearsed, casually seen world of dance in its most varied manifestations, enclosed within the walls of the theater. The paper shows that the searching creative thinking peculiar to Edgar Degas introduces new ways of observing and depicting in the sketches and finished works different and simultaneously canonical poses and movements of the dancers in solitary figures and ensemble groups conditioned by the specificity of classical choreography. In spite of one common theme, the artist resolves different creative compositional and coloristic tasks in depicting the backstage theatrical life. On the basis of the interdisciplinary nature of the subject the author engages with a wide range of issues, covering not only methodological, but also substantive aspects (names of the depicted, composition and dance technique, performing manner, rehearsal atmosphere, ballet costumes, interior architecture of the theater, etc.). Based on a study of a number of works, the author formulates the main visual characteristics of the ballet artistic images and their unique conceptual embodiment. The possible ways of using such artistic experience in the practice of ballet theater are outlined.

An Unpublished Page of Choreographer Filippo Taglioni’s Biography: Based on Materials from the Russian State Historical Archive

The distinguished master of romantic ballet, dancer-choreographer and pedagogue Filippo Taglioni travelled across almost all of Europe without stopping anywhere for long: he preferred short-term contracts to multi-year responsibilities. His longest, a five-year contract, was concluded with the Russian Directorate of Imperial theatres and lasted from 1837 through 1842. However, there exists the assumption that Filippo Taglioni may have arrived in Russia 20 years prior, in 1817, as unpublished documents found in the Russian State Historical Archive have revealed. In her article. The author of the article discusses the complex bureaucratic mechanism for inviting foreigners to Russia, describing the situation of the 1816–1817 season when, experience a deficit of soloists in the ballet troupe, the theatre’s directorship invited dancers from abroad to the St. Petersburg ballet company. The choice fell upon the premieres danseurs from the Paris Opera Ballet, Albert and Emilia Bigottini, but the artists, after having confirmed their consent, were thereafter unable to come to Russia. The search continued, and the Chief Director of the Imperial Theatres, Prince Naryshkin, noticed the dancer Taglioni, whom he recommended be invited to St. Petersburg. However, in the message, the director did not specify which Taglioni he was referring to: the 28-year-old Salvatore or the 40-year-old Filippo. The author of the article unravels the mystery and demonstrates that it was Filippo who was invited to Russia in 1817. However, this engagement did not take place. The author attempts to discover the reasons why Filippo Taglioni did not come to Russia during the reign of Alexander I.

Guest Editor's Introduction: The Ballets Russes in North America

Guest Editor's Introduction: The Ballets Russes in North America

"알렉산더 에크만(Alexander Ekman)의 무용 작품에 나타난 연극적 특성연구 : 작품 「play」를 중심으로"

Starting With the creation and emergence of TanzTheater, a new dance style relying heavily on expressiveness, by Pina Baush, the representative dancer of neo-expressionism, the fusion between dance and theater gained popularity and the boundary between both art forms became more ambiguous. The purpose of this study is to explore the theatricality of the dance performance art work "play" by Sweden choreographer Alexander Ekman. Born in 1984, Alexandre Ekman has choreographed about 50 dance works as a freelancing choreographer for world-famous dance companies, such as the Nederlands Dans Theater, Paris Opera Ballet, and The Royal Swedish Ballet. Additionally, he has won several awards for his works. His creative style is known for its theatricality, notably its humorous and bold expressiveness, as well as for Ekman’s excellent imagination and creativity, which have influenced modern dance styles around the world. In this study, I will focus on "Play", a work Ekman created for the Paris Opera Ballet in 2017. This dance performance art work recalls the memories of childhood and emphasises the importance of games in life. It challenges the word definition by applying it to adulthood and the chase of the meaning of life and happiness. Ekman was not only involved in the creative process of the choreography but he also designed the set and costume for his piece. Ekman has an affinity for his narrative, giving the audience a unique visual experience. This is one of the reasons why "Play" is still continuing to gain attention and popularity. In this study, the dramatic effects of this work (movement, props, music, stage effects, costumes) are discussed in detail.

Avoiding silent opera: the \u2018grand\u2019 performing right at work in nineteenth century Paris

The music industry has been made possible through performing rights based on a law introduced by the post-revolutionary French national assembly in 1791. However, it took until the mid-nineteenth century until a system of royalty collection was established in France (and another half a century or more in other countries). In France, this new system for non-dramatic performing rights was preceded by royalty regulations in theatres. This study describes how nineteenth century composers were compensated for their work in the Paris Opera through this performing right for drama, known as the ‘grand right’. The tariff-based compensation method had been put in place by a royal réglement in 1713. It created a classic winner-take-all phenomenon in which composers such as Auber, Meyerbeer, and Halévy thrived in the nineteenth century. A contributing fact was the opera house programming which, contrary to the programming of today, favoured new pieces. ‘Grand opéras’ were à la mode and they contributed to the financial success of their composers. However, these operas eventually lost their attraction. In 1884, the Paris Opera adopted a compensation system based on a percentage of box office revenues. The study is based on primary data for 1810–1866.

Tannhäuser rehabilitated (III) – Eugène d’Harcourt’s concert

In November and December 1894, a few months before the work’s reappearance on the Parisian stage, its very important selection (including especially the entire first and third acts) was presented by the count Eugène d’Harcourt, – by the way member of the elitist Jockey’s Club – during his “eclectic concerts” at the rue Rochechouart’s Salle de Concerts. The author of the article recalls juridical and artistic controversies provoked by these executions of Wagner’s opera. Tannhäuser’s fourth performance at Paris Opera’s stage was preceded, in the spring of 1895, by many publications, books and articles devoted to Wagner’s masterpiece. The most important, Étude sur « Tannhäuser » de Richard Wagner. Analyse et guide thématique, was written by Alfred Ernst and Élie Poirée who tried to show the value of Tannhäuser, considered already as a musical drama and an important stage of the composer’s evolution.

“It’s You Plus It’s … Art”: The #Artselfie Debate From Douglas Coupland to Tolstoy

“It’s You Plus It’s … Art”: The #Artselfie Debate From Douglas Coupland to Tolstoy Elena Siemens Click for larger view View full resolution Fig. 1. Erwin Wurm, Big Disobedience. VAG Offsite, Vancouver, 2019. Photo by the author. [End Page 27] In contrast to a regular selfie, the #artselfie, Douglas Coupland writes, “contains upscale branding semiotics within the frame itself. Crop and apply a hashtag and suddenly you don’t feel like an ant any more” (Jordan et al. 13). Instead, “It’s you plus it’s … art!” (Jordan et al. 13). Coupland, though, still misses the old analog era, and in particular “that wicker basket next to the landline phone filled with bad party shots and unflattering posed shots taken on windy days” (Jordan et al. 11). The selfie, Coupland points out, “allows all of us to pose and put forth a model of who we think we are, as opposed to who we actually are” (Jordan et al. 11). Taking a giant step further, the #artselfie brings Da Vinci and Van Gogh into this equation, rather than simply adding an Instagram hashtag. Does the #artselfie diminish art? Is the conversation between its two protagonists (art and the self) one-sided? In addition to Coupland’s “Notes on Selfies,” the thought-provoking volume on #Artselfie includes a substantial critical component couched as a dialogue between DIS Magazine and Simon Castets. According to DIS: “You could argue that when people are taking #artselfies in the museum, it somehow devalues the work that is behind them, if for no other reason than the fact that it appears as a thumbnail on your iPhone” (Jordan et al. 79). DIS further states: “Art suddenly becomes a status-apparatus, it becomes-with the #artselfie-a beautiful background” (Jordan et al. 79). Castets, who is a French art curator and director of the Swiss Institute in New York, takes issue with this: To me, it’s the opposite, if I don’t take a picture of the artworks I’m interested in, I remain on the surface and I am keeping myself from a deeper understanding of the work. I photograph the label, the artwork, but I am not necessarily going to do an #artselfie. (Jordan et al. 79) This article considers a number of diverse takes on the often tangled interaction between art and the viewer. In addition to the #Artselfie contributors, I discuss Johan Idema’s How to Visit an Art Museum, which proposes a range of productive strategies designed to help the viewer conduct a more meaningful dialogue with art. My case studies include Alex Prager’s short film La Grande Sortie (2015), as well as Prager’s photographs associated with it, both addressing the complexity of this exchange between art and the viewer-especially the consequences of breaking the fourth wall separating performers and audience. Martin Parr’s set of photographs Playing to the Gallery, shot for Vogue (2019), also raises some tough questions regarding the museum and/or theatre environment. The article further refers to Tolstoy’s classic War and Peace, particularly the chapter set at the Opera Theatre in Moscow, where, to the narrator’s indignation, the stage and the auditorium are found at complete odds. In contrast to Tolstoy, Anton Chekhov refrains from judging the characters in his play The Seagull or his story “The Lady with the Dog.” The article is illustrated with a selection of my images portraying viewers interacting with art at two prominent locations in Vancouver. [End Page 28] Click for larger view View full resolution Fig. 2. Erwin Wurm, Big Disobedience. VAG Offsite, Vancouver, 2019. Photo by the author. Commissioned by the Paris Opera Ballet and shot at the renowned Opera Bastille, Alex Prager’s short film La Grande Sortie (2015) stars the celebrated dancer Émily Cozette as a prima ballerina, who returns to the stage “after an unexplained hiatus” (“La Grande Sortie”). In her New York Times article coinciding with the opening of Prager’s 2016 exhibit at the Lehmann Maupin in New York, Isabel Wilkinson writes: At first, the performance resembles what Prager calls a “PBS-style” movie, “when you’re searching for something to watch late at night-until its...

“Becoming an Instrument for the Symbols of Beauty”

Abstract When Zelda Fitzgerald resumed her ballet training in her mid-twenties, it was with an urgent resolve to become a respected professional dancer. At its best, Zelda’s intensity toward her lessons and the art form is acknowledged as a fierce determination to express herself; at its worst, it is regarded as obsession and a fast track toward mental deterioration. Her devotion to ballet is often examined from the angle of her homelife and her familial obligations, and a significant misconception is that she became destructively isolated during this period. The culture of the dance studio, the structured environment of her daily ballet classes, and the relationships she developed—including her devotion to her teacher Lubov Egorova—grant an alternative perspective and understanding of her deeply passionate pursuit. It is alongside the star dancers of the 1920s that Zelda trained, and she was swept into the new wave of ballet with daring and spectacular works by Diaghilev’s Ballets Russes alongside the reinvigoration of the Paris Opera Ballet. These experiences, and the sensation of her body in poetic movement, remained with Zelda well after she physically put ballet behind her and focused on her many other passions.

How to Catch the Devil? Performance Materiality and Meyerbeer's Robert le Diable

Stage machinery enters the historical narrative often enough through mishaps and interruptions. This article takes as its starting point a report of the Paris opera director Véron in order to think about the role of materiality in the analysis of past performances. The occasion, depicted in the report, is the opening night of Robert le Diable, written by Eugène Scribe and composed by Giacomo Meyerbeer. The article discusses two key questions on the historiographic value of the report as a source for performance analysis. (1) How can we unfold the performativity of a past performance through archival documents? (2) What is the impact of the materiality of machinery, bodies and space in the theatrical interplay?

Compulsive Masculinity: Hercules and Early Italian-Style Opera in Paris

ABSTRACT This essay investigates the rise of Italian-style opera in Paris through the lens of Ercole amante, an opera composed by Francesco Cavalli to a libretto by Francesco Buti for the wedding of the future French king Louis XIV and the Spanish infanta Maria Teresa in 1660. In the libretto Buti explores the blend of two distinct, and yet intertwined, preoccupations: the investment in the rise of operatic poetics as a new literary genre and the anxiety about the potential vulnerability of the aristocratic body in a time of rising absolutism. Translated after Cardinal Mazarin’s death into French as Hercule amoureux, Ercole amante imagines the French king in the form of the mythological figure of Hercules. Through the lens of the mythological figure, Buti charts the dual strands of genre and gender as a single enterprise while engaging with questions such as male filiation in the context of the French Salic Law.

A breach of silence: affective soundscapes in Sasha Waltz’s Roméo et Juliette

This article analyses Roméo’s silent solo dance in German choreographer Sasha Waltz’s staging of Hector Berlioz’s dramatic symphony Roméo et Juliette for the Paris Opera Ballet. The musicless scene, which imagines Roméo’s reaction to the news of Juliette’s ‘death’, exposes the dancer’s physicality through various acoustic means, creating a soundscape that makes the character’s despair accessible to the audience as affective intensities. The solo thus not only brings together competing stances towards emotionalism from classical and non-classical theatre dance, but also builds upon the philosophical interrogation of artistic expression both in Shakespeare’s play and in its musical adaptation by Berlioz.

낭만주의 발레 작품에 나타난 무용의상 특성 연구: 파리 오페라 발레단의 「라 실피드(La Sylphide)」를 중심으로

낭만주의 발레 작품에 나타난 무용의상 특성 연구: 파리 오페라 발레단의 「라 실피드(La Sylphide)」를 중심으로