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  • English  (3)
  • Undetermined
  • Kellermann, Jonas  (3)
  • [Erscheinungsort nicht ermittelbar] : Taylor & Francis  (3)
  • Literature: history & criticism  (3)
  • Environmental science, engineering & technology
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  • English  (3)
  • Undetermined
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  • [Erscheinungsort nicht ermittelbar] : Taylor & Francis  (3)
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  • Literature: history & criticism  (3)
  • Environmental science, engineering & technology
  • 1
    Online Resource
    Online Resource
    [Erscheinungsort nicht ermittelbar] : Taylor & Francis
    ISBN: 9781032028590 , 9781032028606 , 9781003185536
    Language: English
    Pages: 1 Online-Ressource
    Keywords: Literature: history & criticism
    Abstract: Bringing together current intermedial discourses on Shakespeare, music, and dance with the affective turn in the humanities, Dramaturgies of Love in Romeo and Juliet offers a unique and highly innovative transdisciplinary discussion of "unspeakable" love in one of the most famous love stories in literary history: the tragic romance of Romeo and Juliet. Through in-depth case studies and historical contextualisation, this book showcases how the "woes that no words can sound" of Shakespeare’s iconic lovers nevertheless have found expression not only in his verbal poetry, but also in non-verbal adaptations of the play in 19th-century symphonic music and 20th- and 21st-century theatre dance. Combining methodological approaches from diverse disciplines, including affect theory, musicology, and dance studies, this study opens up a new perspective onto the artistic representation of love, defining amorous emotion as a generically transformative constellation of dialogic performativity. To explore how this constellation has become manifest across the arts, this book analyses and compares dramatic, musical, and choreographic dramatisations of love in William Shakespeare’s early modern tragedy, French composer Hector Berlioz’s dramatic symphony Roméo et Juliette (1839), and the staging of Berlioz’s symphony by German contemporary choreographer Sasha Waltz for the Paris Opera Ballet (2007)
    Note: English
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  • 2
    Online Resource
    Online Resource
    [Erscheinungsort nicht ermittelbar] : Taylor & Francis
    ISBN: 9781003185536 , 9781032028590 , 9781032028606
    Language: English
    Pages: 1 Online-Ressource (22 p.)
    Keywords: Literature: history & criticism
    Abstract: The introductory chapter frames Shakespeare’s Romeo and Juliet and its dramatisation of romantic love within the recent affective turn, defining affect as relational and discursive movements that are intelligible as individual, nameable emotions based on their adherence to certain cultural taxonomies. This definition entails my overall query: what are the taxonomies according to which affective movements become readable as amorous emotion in Romeo and Juliet? To showcase that these patterns not only pertain to verbal language, I also discuss symphonic and balletic adaptations of the play, specifically Hector Berlioz’s dramatic symphony Roméo et Juliette (1839) and Sasha Waltz’s staging of the Berlioz’s symphony for the Paris Opera Ballet (2007)
    Note: English
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  • 3
    Online Resource
    Online Resource
    [Erscheinungsort nicht ermittelbar] : Taylor & Francis
    ISBN: 9781003185536 , 9781032028590 , 9781032028606
    Language: English
    Pages: 1 Online-Ressource (62 p.)
    Keywords: Literature: history & criticism
    Abstract: This chapter examines Sasha Waltz’s choreographic staging of Berlioz’s Roméo et Juliette for the Paris Opera Ballet from 2007. Waltz’s production reimagines one of the most canonical stories in the classical ballet repertoire through the abstract and fragmentary lens of contemporary dance. I trace how Waltz appropriates the post-modern principles of Contact Improvisation for purposes of balletic storytelling. Drawing from recent affect-focussed criticism in dance studies, I explore how Waltz uses the non-narrative relationality of Contact Improvisation to transform Shakespeare’s poetic constellations of affect into abstract, yet dramatically expressive choreographic embodiments of affect, especially in the Pas de deux during the “Scène d’amour”
    Note: English
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