Paris Theatre Research Articles

Дмитрий Бушен на сцене театра «Атеней». Эскизы для костюмов к спектаклям Луи Жуве

The aim of the research is to examine and analyze the works created by the artist Dimitri Bouchène (1893-1993) for Louis Jouvet’s Théâtre de l’Athénée in Paris. The paper studies the costumes designed by Bouchène for the performances of “Tessa” and “Electra” in 1934 and 1937 respectively, shining a light on the reviews by critics on these productions and their staging. The scientific novelty of the research lies in gathering previously scattered information and images related to the creation of “Tessa” and “Electra”. These are the only dramatic productions where Dimitri Bouchène, who is known primarily for his work in musical theatre scenography, was involved in the set design. The research highlights a stage in the artist’s creative path, which coincided with the period of developing his individual style and distinctive character. The early stage of Bouchène’s work for the theatre in Paris is marked by diversity and a search for his own direction and creative signature. The paper emphasizes the high praise given by critics to Bouchène’s work, particularly regarding the play “Electra”.

«ЗОЛОТОЙ ПЕТУШОК» Н. А. РИМСКОГО-КОРСАКОВА — «СОЛОВЕЙ» И. Ф. СТРАВИНСКОГО: ПАРАЛЛЕЛИ И ПЕРЕСЕЧЕНИЯ

The article is devoted to the musical and theatrical works of I. F.Stravinsky and N. A. Rimsky- Korsakov, The Nightingale and The Golden Cockerel. The “meeting” of Rimsky-Korsakov’s last opera and the first musical and theatrical opus of his younger contemporary on May 26, 1914 at the Chatelet Theatre in Paris, as part of S. Diaghilev’s Russian Seasons, is noteworthy. The search for synthetic artistic forms relevant to the Art Nouveau era, sought by the famous impresario and his associates, led to the production being staged as a ballet with the singing of not only The Golden Cockerel, but also of The Nightingale, which was originally conceived by Stravinsky as an opera-ballet. In the performances shown on the same evening, the vocal-instrumental aspect of the action was complemented by a dance-plastic one, creating an expressive sound-visual counterpoint of the audible and the visible. The colourful details in A. Benois’s direction and M. Fokin’s choreography, N. Goncharova’s picturesque scenery design for The Golden Cockerel, as well as in the solution of The Nightingale by A. Sanin, A. Benoit and B. Romanov, the conventionality of the stage form of a fantastic spectacle was emphasized. The article discusses the similarities and differences in the composers’ embodiment of the original image of the fairy-tale world, examines the artistic and conceptual potential of both works, their dramatic and stylistic features, and the interpretation of literary prototypes. The Golden Cockerel and The Nightingale also encourage reflection on the evolution of fairy-tale opera in the works of Rimsky-Korsakov and on the peculiarities of the formation of Stravinsky’s creative talent.

Genital Inspections in 1952: Staging the Appearance of Transsexuality in France

Jean de Létraz’s unpublished, little-known vaudeville play The Maiden of Auteuil (La pucelle d’Auteuil) ends, after the stage goes black and just before the curtain falls, with six characters performing a genital inspection on the main character Camille, who passed as both a man and a woman over the course of the play. Performed at the Palais-Royal Theatre in Paris in 1952, the comic play highlights anxieties in the 50 s about how cisgender communities know who is and is not “transsexual.” This article interprets this striking final scene in light of the rest of the play and the legal, medical, and cultural context of 1950s France, arguing that the genital inspection performs the reestablishment of public order out of gender disorder at the same time as it warns the French public about the coming hegemony of binarized sexual definition based on external appearance of genitalia, as codified in French juridical discourse.

Both Authors and Authored

Our Memory Belongs to Us (Rami Farah and Signe Byrge Sørensen, 2021) reunites three activists from a failed revolution—Rani, Yadan, and Odai—in a theatre in Paris in 2019, where codirector Rami Farah plays footage they’d shot themselves during the Syrian revolution. Farah’s approach is one of critical generosity, in which the activists are made to reflect on their images from the past from the perspective of the present. As explored by Stefan Tarnowski in this essay, the resulting documentary directly addresses the activists’ ability to drive political transformations and assemble publics of humanitarian concern through image circulation.

Letters of Anna and Lubov Dostoevsky in the Archive of the National Library of France

The article introduces into scientific circulation two letters written by the widow and daughter of F. M. Dostoevsky in 1912 and 1924 and addressed to the famous French director Jacques Copeau. These documents were discovered as a result of archival searches in the J. Copeau foundation in the National Library of France. The two letters are connected by their subject — the debut production of the play “The Brothers Karamazov” by Copeau at the Paris Theater of Arts in 1911. Reviews of the production published in the European and Russian press contain range of opinions: from enthusiastic to sharply critical. In his letter A. G. Dostoevskaya praised Copeau’s drama, however, she familiarized herself with it without seeing the theatrical production itself, by reading the book that the director had sent her. The publication of Copeau’s play, which is based on the novel “The Brothers Karamazov”, is a little-known exhibit of the Memorial Museum of F. M. Dostoevsky, established by the writer's widow in 1889. It is mentioned only in the notebook of A. G. Dostoevskaya 1912–1913. The year of inclusion of published Copeau’s play in the collection of the Memorial Museum of F. M. Dostoevsky is established based on the letter and the notebook of the writer’s widow. The letter from L. F. Dostoevsky contains information about her communication with such famous French writers as Jacques Copeau, Irénée Mauget and Paul Bourgeois, as well as about the attempts of the copyright heiress to receive remuneration for the production undertaken by Copeau. These details augment the currently scarce information about the emigration period in the biography of the writer's daughter. The appendix to the article contains the letters of A. G. and L. F. Dostoevsky in French and in translation.

Theater Reopenings and Vaccinated Viewings in Pandemic Year Two

Editorial| June 01 2021 Theater Reopenings and Vaccinated Viewings in Pandemic Year Two B. Ruby Rich B. Ruby Rich Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (2021) 74 (4): 5–8. https://doi.org/10.1525/fq.2021.74.4.5 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation B. Ruby Rich; Theater Reopenings and Vaccinated Viewings in Pandemic Year Two. Film Quarterly 1 June 2021; 74 (4): 5–8. doi: https://doi.org/10.1525/fq.2021.74.4.5 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentFilm Quarterly Search It has been more than a year since this editorial space filled with speculations about streaming films and the closing of theaters. It was with distinct excitement, then, that I began to read the reopening announcements. The beloved Paris Theater in New York City, with its lease now held by Netflix and with programming selected by former Museum of the Moving Image curator David Schwartz, trumpeted an Al Pacino retrospective. The Film Forum, that mainstay of downtown New York tastemaking, announced its theater’s reopening while retaining its virtual marquee, too. The Museum of Modern Art continued its online offerings as it awaited fixing its reopening date while Film at Lincoln Center proclaimed its opening and Landmark Theatres issued a national reopening-day announcement. Another press release trumpeted the combined theatrical and online debut on July 1 of Ahmir Khalib “Questlove” Thompson’s Sundance hit, Summer of Soul (… Or, When the Revolution... You do not currently have access to this content.

Folliculus o Le Père Feuilleton

This article consists in an historical portrait of the French dramatic critic Julien Louis Geoffroy with a special focus on his writings published by the “Journal de l’Empire” (previously known as “Journal des débats”). From 1800 to 1814, his articles on the feuilleton analysed several spectacles taking place in the different theatres of Paris. Geoffroy was an Anglophobe, a conservative and a partisan of racinian tragedy and often bitterly criticised the esprit des Lumières and underlined the weakness and sterility of contemporary productions at the Comédie-Française, yet was very able to accept mélodrame as a new genre and judged it less dangerous than the “bad” tragedies composed during the Empire. The historical figure of Geoffroy and his crucial role in the developing of dramatic criticism in relation to its political implications are the perfect example of the central part played by theatre and dramatic criticism itself in the birth of the romantic movement.

The Yiddish Art Theatre in Paris after the Holocaust, 1944–1950

Almost as soon as Paris was liberated from Nazi Occupation on 25 August 1944, Yiddish actors took back the stages on which they had once performed. In fact, on 20 December 1944, while war and the Holocaust still raged, a small cohort of actors produced what they advertised in the Naye prese as the “first grand performance by the ‘Yiddish folks-bine.’” This performance was to take place at the four-hundred-seat Théâtre Lancry, a performance space located in Paris's 10th arrondissement, not far from the Place de la République and the Marais. “Lancry,” as it was known, had played host to Yiddish theatre as early as 1903 and, during the interwar years, it was the center of Parisian Yiddish cultural activity: dozens of theatre performances occurred there and it was where the Kultur-lige pariz was based, among other institutions. During the postwar years, it also went by the name Théâtre de la République after 1947 and Théâtre du Nouveau-Lancry after 1951, but many still referred to it simply as “Lancry.”

The Threat of the Bio-Lone Wolf to National Security: A Covid-19 Perspective

It was an ordinary Friday evening when Phillip went to see his favorite band at the Bataclan theater in Paris with his colleagues. The hall was sold out, and the band did not disappoint. In the fol...

Archive Fever: Literature, Illegibility, and Historical Method

Abstract This essay explores the allure of illegibility in the archive. The author adapts methods from literary analysis and visual art in order to decipher an inscrutable fragment from the archive of Greek Egyptian novelist Stratis Tsirkas (1911–1980): a hastily written something on a 1929 film flyer advertising the screening of two Hollywood movies at the Ciné de Paris theater in Cairo. In her attempt to render the text legible, the author reconstructs the moment of the archival fragment’s production by developing a technique called “reverse calligraphy.” This sensory engagement with the archive’s materiality leads to a series of illuminations both with regard to Tsirkas’s biography and with regard to the role of creativity in historical inquiry.

Suchethana SwaroopBeyond East and West: A Story of Civilization through the Great Epics by N. S. Raghavan

By story’s end, our characters’ lives amazingly , but not unbelievably, intertwine, skillfully arranged by Moskovich. A native of the former Soviet Union, Yelena Moskovich immigrated to the US as a child. She studied theater in Boston and Paris. Her plays have been widely published and performed. Despite not being a native English speaker, Moskovich penned her two novels in impeccable, polished prose. Virginia Parobek Lancaster, Ohio Henrietta Lovell Infused: Adventures in Tea London. Faber & Faber. 2019. 239 pages. “WHAT IS NORMAL tea?” Henrietta Lovell, the founder of the Rare Tea Company, wants you to reflect on this question . Hers is a white silver tip from China, a delicate creamy-leaning white tea. If the only tea you are familiar with involves steeping tea bags, this book is for you. Lovell’s epicurean quest to bring artisan tea closer to a Western audience is masterfully achieved in Infused: Adventures in Tea. Her book narrates a poetic stroll through countries, terroirs, cultures, and encounters, to (re)discover the leaves in the bag. Loose leaves. She laments how consumers have mostly experienced tea in its bitter and overly astringent form, having to sprinkle all kinds of enhancements to round its taste, an unchallenged relic from World War II rationing. Just as granular instant coffee may never compare with the third-wave specialty coffee movement, there is an infinite hiatus between the “fannings ,” the low-grade dust from the camellia sinensis plant, and artisan tea. The book is not a scholarly treatise nor an exhaustive catalog. You may reach for the classic Tea: History, Terroirs, Varieties, by Kevin Gascoyne, François Marchand , Jasmin Desharnais, and Hugo Americi, for a deeper dive. Yet Infused: Adventures in Tea is both refreshingly accessible and personal. It exposes Lovell’s story with tea, her interaction with the plant and the astonishing world it opened, from Hollywood to Malawian tea farms, and more. Lovell shares her passion with incredible love and generosity . “I never un-love,” she says, and it is contagious . The readers are bound to develop a different and mindful appreciation for the cup. The author leaned on tea to overcome the most difficult moments of her life, recalled in moving pages. Her homage is one of endless curiosity and gratitude for the people behind the transnational beverage, pluckers to masters, crafters of artistic renditions . The same cup can never be drunk twice for it relies on a myriad of interdependent elements and steps. It is perhaps this richness that ought to be the book’s main resonance. Raising a cup (or two) to an ebullient and gourmand read. Farah Abdessamad New York Suchethana Swaroop Beyond East and West:A Story of Civilization through the Great Epics Trans. N. S. Raghavan. Abingdon, UK. Routledge. 2019. 293 pages. BEYOND EAST AND WEST: A Story of Civilization through the Great Epics, by Suchethana Swaroop, is an attempt to shed light on the evolution of civilizations through the literary epics of India and the West. The twenty-two chapters of the monograph weave a comparative approach between European and Indian culture to analyze how epics have markedly reflected the development of their time and pushed forward future transitions. Textual examples are presented to editors Nathalie Teitler and Nii Ayikwei Parkes, and by Flipped Eye in general , shows a conscious commitment to helping literary artists advance in their careers—a commitment that is necessary if underrepresented writers are to continue living from their work. In this practical sense, Un Nuevo Sol is a collection that seeks to do right by its writers as well as its readers. Nathalie Teitler writes in her introduction , “To be British Latinx is to live the experience of constantly translating yourself on all levels; to be accustomed to people addressing a version of you that bears little resemblance to your actual identity. It is to know what it means to be both present and invisible .” Throughout this collection, writers from a wide range of backgrounds and experiences put this self-translation into practice, this time not to fit in but to reveal their true identities. They present the invisible parts of themselves in their own unpredictable, heterogeneous , unapologetic ways, making language their own. Un Nuevo Sol...

Henrietta LovellInfused: Adventures in Tea

By story’s end, our characters’ lives amazingly , but not unbelievably, intertwine, skillfully arranged by Moskovich. A native of the former Soviet Union, Yelena Moskovich immigrated to the US as a child. She studied theater in Boston and Paris. Her plays have been widely published and performed. Despite not being a native English speaker, Moskovich penned her two novels in impeccable, polished prose. Virginia Parobek Lancaster, Ohio Henrietta Lovell Infused: Adventures in Tea London. Faber & Faber. 2019. 239 pages. “WHAT IS NORMAL tea?” Henrietta Lovell, the founder of the Rare Tea Company, wants you to reflect on this question . Hers is a white silver tip from China, a delicate creamy-leaning white tea. If the only tea you are familiar with involves steeping tea bags, this book is for you. Lovell’s epicurean quest to bring artisan tea closer to a Western audience is masterfully achieved in Infused: Adventures in Tea. Her book narrates a poetic stroll through countries, terroirs, cultures, and encounters, to (re)discover the leaves in the bag. Loose leaves. She laments how consumers have mostly experienced tea in its bitter and overly astringent form, having to sprinkle all kinds of enhancements to round its taste, an unchallenged relic from World War II rationing. Just as granular instant coffee may never compare with the third-wave specialty coffee movement, there is an infinite hiatus between the “fannings ,” the low-grade dust from the camellia sinensis plant, and artisan tea. The book is not a scholarly treatise nor an exhaustive catalog. You may reach for the classic Tea: History, Terroirs, Varieties, by Kevin Gascoyne, François Marchand , Jasmin Desharnais, and Hugo Americi, for a deeper dive. Yet Infused: Adventures in Tea is both refreshingly accessible and personal. It exposes Lovell’s story with tea, her interaction with the plant and the astonishing world it opened, from Hollywood to Malawian tea farms, and more. Lovell shares her passion with incredible love and generosity . “I never un-love,” she says, and it is contagious . The readers are bound to develop a different and mindful appreciation for the cup. The author leaned on tea to overcome the most difficult moments of her life, recalled in moving pages. Her homage is one of endless curiosity and gratitude for the people behind the transnational beverage, pluckers to masters, crafters of artistic renditions . The same cup can never be drunk twice for it relies on a myriad of interdependent elements and steps. It is perhaps this richness that ought to be the book’s main resonance. Raising a cup (or two) to an ebullient and gourmand read. Farah Abdessamad New York Suchethana Swaroop Beyond East and West:A Story of Civilization through the Great Epics Trans. N. S. Raghavan. Abingdon, UK. Routledge. 2019. 293 pages. BEYOND EAST AND WEST: A Story of Civilization through the Great Epics, by Suchethana Swaroop, is an attempt to shed light on the evolution of civilizations through the literary epics of India and the West. The twenty-two chapters of the monograph weave a comparative approach between European and Indian culture to analyze how epics have markedly reflected the development of their time and pushed forward future transitions. Textual examples are presented to editors Nathalie Teitler and Nii Ayikwei Parkes, and by Flipped Eye in general , shows a conscious commitment to helping literary artists advance in their careers—a commitment that is necessary if underrepresented writers are to continue living from their work. In this practical sense, Un Nuevo Sol is a collection that seeks to do right by its writers as well as its readers. Nathalie Teitler writes in her introduction , “To be British Latinx is to live the experience of constantly translating yourself on all levels; to be accustomed to people addressing a version of you that bears little resemblance to your actual identity. It is to know what it means to be both present and invisible .” Throughout this collection, writers from a wide range of backgrounds and experiences put this self-translation into practice, this time not to fit in but to reveal their true identities. They present the invisible parts of themselves in their own unpredictable, heterogeneous , unapologetic ways, making language their own. Un Nuevo Sol...

Sarah Hibbert and Richard Wrigley, eds. 2014. Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions

Sarah Hibbert and Richard Wrigley, eds. 2014. Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions

Cafébabel and ‘Génération Bataclan’: Cosmopolitan identities and/as constructive European news

The attack on the Bataclan Theatre in Paris in November 2015 arguably targeted a transnational community of youths able to move and convene freely; as such, it was an attack on the liberal and cosmopolitan core of the European project. Cafébabel (cafebabel.com), a multilingual current affairs online magazine co-funded by the European Union, is intricately linked to this project. This article consequently investigates how Cafébabel, in the aftermath of the attack, appropriated the notion of ‘Génération Bataclan’ from a front page of Libération and how this may be seen as a constructive intervention in the relations between terrorism and journalism in Europe. Cafëbabel’s coverage was, it will be argued, linked to efforts to reflect and/or construct a generational and transnational ‘cosmopolitan identity’ within journalistic practices that largely can be called participatory. Following this, the article consequently argues for seeing Cafébabel’s coverage as instances of constructive news as participation in the European project, which is related to how the outlet perceives the news by national legacy media as un-constructive (conflict, scepticism, nationalism, sensationalism, etc.). In analysing a sample of articles from Cafébabel following the Paris attacks, the article consequently employs a theoretical foundation that merges elements from writings applying three distinct concepts, namely, constructive journalism, journalism as practice and cosmopolitanism.

Joseph Conrad on the French Stage: One Day More as Demain

Joseph Conrad on the French Stage: One Day More as Demain Susan McCready (bio) In the summer of 1913, The English Review published the play One Day More, Joseph Conrad’s adaptation of his 1902 short story “To-morrow,” noting that the play had been “performed in 1904 by the Stage Society and also at the Théâtre de l’Œuvre, Paris” (Conrad, “One Day More” 16).1 Founded in 1893, Aurélien Lugné-Poe’s Œuvre (the name means “work of art”) referred not to the hall (the Salle Berlioz in the 9th arrondissement) but to the troupe, one of a growing number of “art theater” enterprises around the turn of the twentieth century whose goal was to rescue French theater from the twin threats of commercialization and stagnation. Lugné-Poe produced Alfred Jarry’s infamous Ubu Roi in 1896 and would go on to be a leading light in the art theater movement. The Œuvre’s repertoire was an eclectic array of plays, French and foreign, contemporary and classic. Lugné-Poe argued passionately for international cooperation among theater artists (Dusigne 16) and staged the French premieres of plays by Strindberg, Ibsen, d’Annunzio, and Gorki. However, he never produced a play by Conrad.2 In the spring of 1909, One Day More had played Paris in an adaptation by P. H. Raymond-Duval entitled Demain, but it was at the Théâtre des Arts, not at the Œuvre. It is not clear how The English Review came to make this error or whether it would have been meaningful to its readers, but it was widely repeated in publications that reported on the latest issue of the literary magazine. Would it have mattered to readers of The Cleveland Plain Dealer or The Aberdeen Daily Journal that Conrad’s play had premiered at one Paris theater rather than another?3 To most, probably not, but to those who knew the Paris theater scene well, the substitution of the Œuvre for the Théâtre des Arts would have given a false impression of Conrad’s French theatrical debut. At the turn of the twentieth century in France, the theater was culturally the most important literary genre and commercially the most attractive. Authors [End Page 175] could reach a larger audience and make more money with one hit play than with a string of successful novels, and they could not hope to rival the prestige of Racine and Molière with serializations in newspapers. Still, contemporary commentators warned that the theater in France was in crisis. With an audience subdivided among theaters specializing in various types of entertainment (grand spectacle, café-concert, vaudeville, among others), the “literary theater” had a smaller share of the box office than ever before. More worrisome to the literati was the suspicion that French playwrights were not up to the moment, and perhaps they were not. No French playwright of the period reached the status of Chekhov, Ibsen, Strindberg, Hauptmann, Maeterlinck, or Shaw. Untrammeled by the cultural baggage of the théâtre classique and its nineteenth-century avatar, la pièce bien faite, foreign authors were experimenting more broadly with dramatic form, and were frankly more successful in adapting it to their subject matter. The art theater movement began to emerge in France in the 1880s partly in response to this crisis. André Antoine led the way, founding the Théâtre Libre in 1887; Paul Fort, whose Théâtre d’Art (not to be confused with the Théâtre des Arts, where Conrad’s play premiered) opened in 1890, was not far behind. Lugné-Poe had collaborated with both, and his Théâtre de l’Œuvre was the continuation of Fort’s project, which folded in 1893. Art theaters were generally subscription theaters, that is, private clubs, which allowed them to avoid the rigors of official censorship to which the public theaters had to submit. This meant that they were generally freer in their choice of repertoire, and they used their freedom to push the French theater in new directions. Often this meant in the direction of foreign authors, further stoking anxiety in the theater world that French cultural dominance was on the wane. Art theaters positioned...

“Shakspeare, s’avançant”: A Bard, the Nineteenth Century and a Tale of Two Cities’ Theatres

ABSTRACTWhile much scholarship of the nineteenth century has been justly devoted to the Romantic veneration for Shakespeare, the elaborate stagings of his works and the professionalisation of Shakespeare studies during the course of the period, this article focuses upon Shakespeare himself onstage in the theatres of London and Paris. Many theatrical productions in both capitals offered scenes of characters reading, reciting and paraphrasing Shakespearean texts in dramatic, comic and/or burlesque settings; however, a number offered the figure of the dramatist amongst the dramatis personae. Often drawing inspiration from Alexandre Duval’s Shakespeare Amoureux (1804), both French and English dramatists exploited the rising cultural capital of the Renaissance dramatist to have him directly intervene in dramatic intrigues and sometimes to assume the role of protagonist. This discussion will focus upon some of the ways in which Shakespeare was called upon to tread the boards of Parisian and London theatrical and musical stages in the period c. 1830–1870.

Metode Pembelajaran Sistem Pakar Diagnosa Penyakit Ikan Hias Air Tawar Pada SMK Negeri 2 Tangerang

The year 1830, munculah called zoetrope, cylindrical object with empty spaces with pictures drawn by hand on the surface of it. While playing, the same motion effect. The year 1870, an inventor from France, Emile Reynaud added a mirror in the middle of the cylinder space. A few years later, he discovered the version of Windows will arise. By adding light reflector and lenses to magnify images on the screen. The year 1892, he did a demonstration in Paris's Theatre Optique, with hundreds of images using the hands to cause the effect of motion pictures for 15 minutes. Rouben Mamoulian, an American film director born in 1929 demonstrated various types of sound in a movie. This is then pushed the filmmaker makes the soft-spoken. The first film camera that uses a color separation. Technicolor Camera that was discovered in 1932 using the principle of "Three-strip" that divides the image into the three primary colors red, yellow, blue (cyan, magenta, yellow). This camera into movie production tool fullcolor using the principle of the "three-strip"

Music ethics politics

In the twenty-teens, music has been wrapped up in politics and ethics in several prominent events, including violent attacks at the Bataclan theatre in Paris and the Pulse Nightclub in Orlando, and the profiling of musical listening habits in the French governments "stop jihadism" campaign. Significant scholarship exists on music and politics, and interest in music and ethical philosophy is growing. More work, however, is needed in theorizing the connections between music, ethics, and politics. In 1951, Heidegger's essay "Building Dwelling Thinking" lists the words in the title without punctuation in an attempt to show how these three terms are intertwined even though they are often considered separate. While these words and concepts are not interchangeable, each relies upon or invokes the other. My title structurally mirrors Heidegger's, and my aim here is to elucidate how music is intertwined with ethics and politics.

Sarah Hibbert and Richard Wrigley, eds. 2014. Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions

The eleven essays in this volume were produced for an interdisciplinary conference, “Correspondances: Exchanges and Tensions between Art, Theatre, and Opera in France, c. 1750–1850,” held at the National Gallery, London in the spring of 2010. This event coincided with an exhibition of the history paintings of Paul Delaroche. The artist’s purportedly “theatrical” style, and longstanding engagement with the theater more broadly, serve as a fitting starting point for a series of explorations of the interplay between the visual arts and the Parisian stage during the late-eighteenth and early-nineteenth centuries.

Offline: November 13, one year on

Offline: November 13, one year on