scholarly journals ‘That’s hard’: Christopher Marlowe’s Doctor Faustus and the Trauma of Reprobation

Early Theatre ◽  
2021 ◽  
Vol 23 (2) ◽  
Author(s):  
Mark James Richard Scott
Keyword(s):  
Performance History ◽  
Collaborative Practices ◽  
Doctor Faustus ◽  
And Performance ◽  
Religious Trauma

Christopher Marlowe’s Doctor Faustus is generally treated as a soteriological riddle: is Faustus damned, and if so, when, and why? This essay argues that such approaches miss the overwhelming emphasis (in both surviving versions of the play) on Faustus’s reprobation. Faustus, instead of presenting a puzzle waiting to be solved, is better appreciated as an incomparable portrait of the experience of reprobate living. Even more, via its textual and performance history, Faustus sheds light on the collective and collaborative practices of real Renaissance actors and theatregoers coming to terms with the post-Reformation religious trauma they shared with the lonely doctor.

Sweet Echo

2019 ◽  
pp. 179-202
Author(s):  
Katherine R. Larson
Keyword(s):  
Early Modern ◽  
Level Of Detail ◽  
British Library ◽  
Classroom Discussions ◽  
Performance History ◽  
Musical Settings ◽  
Performance Context ◽  
Acoustic Impact ◽  
And Performance

Although music was integral to masques, the genre’s visual extravagance tends to overshadow its acoustic elements in scholarly and classroom discussions. This chapter focuses on “Sweet Echo,” the Lady’s song in Milton’s A Mask Presented at Ludlow Castle (Comus), which was performed in 1634 by 15-year-old Alice Egerton. The unusual level of detail that survives about this masque’s performance history, combined with the musical settings extant in Henry Lawes’s autograph manuscript, now held at the British Library, facilitates a suggestive evaluation of early modern song in terms of the rhetorical interplay between lyric, musical setting, and performance context. It also constitutes a striking case study for considering the acoustic impact of women’s singing voices. Milton’s depiction of temptation and self-discipline in Comus, whose moral message is encapsulated in miniature in the Lady’s performance of “Sweet Echo,” hinges on his audience’s experience of song as an acoustic, embodied, and gendered phenomenon.

SCORES IN BLOOM: SOME RECENT ORALLY TRANSMITTED EXPERIMENTAL MUSIC

Tempo ◽  
2020 ◽  
Vol 74 (293) ◽  
pp. 54-69
Author(s):  
Luke Nickel
Keyword(s):  
Small Group ◽  
Experimental Music ◽  
Extended Time ◽  
Note Taking ◽  
Collaborative Practices ◽  
The Creation ◽  
And Performance ◽  
Shed Light

AbstractA small group of composers and performers are collaborating orally/aurally on the creation of experimental music that eschews written scores (‘living scores’). By charting the overlaps between working methods and relationships – both social and musical – this article endeavours to shed light on how these practices rub against standard modes of documentation, transmission, scholarship and performance. The article begins by mapping out of the orally transmitted collaborative practices of four composers – Cassandra Miller, Pascale Criton, Éliane Radigue and me – as documented through interviews with prominent performer-collaborators such as Deborah Walker, Silvia Tarozzi, Juliet Fraser and Cat Hope. A guiding metaphor frames these practices as gardens and highlights shared thematic concepts such as extended time, hospitality, note-taking and responsibility.

“An Essential Expression of the People”: Interpretations of Hasidic Song in the Composition and Performance History of Ernest Bloch's Baal Shem

2012 ◽  
Vol 65 (3) ◽  
pp. 777-820 ◽  
Author(s):  
Joshua S. Walden
Keyword(s):  
Twentieth Century ◽  
Jewish Identity ◽  
Art Music ◽  
Eastern European ◽  
Performance History ◽  
Jewish Communities ◽  
Jewish Music ◽  
The People ◽  
History Of ◽  
And Performance

Abstract This article examines Ernest Bloch's Baal Shem: Three Pictures of Chassidic Life, considering its score, its performance history, and early recordings of the second movement, “Nigun,” by Yehudi Menuhin, Joseph Szigeti, and Mischa Elman, to investigate the idea, promoted by the composer and many of his performers and critics, that the music represented Jewish identity through the evocation of Hasidic song. Bloch's score and Menuhin's performances were described as expressing what was often characterized during the early twentieth century as a self-affirming racial feeling that linked the modern diaspora in America to Eastern European Hasidic Jewish communities. With Baal Shem, Bloch and his performers and listeners participated in a self-conscious effort to construct a modern Jewish identity that they believed could be conveyed in the sounds and structures of art music. Menuhin's lifelong friendship and collaboration with Bloch underscores the crucial roles of Bloch's performers in working with the composer to devise compositional and performance tropes for the representation of Hasidic song, and in creating his broad reputation as a composer of a definitive Jewish music, a reputation Bloch would sometimes embrace and at other times disavow.

scholarly journals Los vaivenes del canon Traducción y puesta en escena de la comedia áurea en Rusia

2020 ◽  
Author(s):  
Veronika Ryjik
Keyword(s):  
18Th Century ◽  
Special Focus ◽  
Performance History ◽  
The Past ◽  
History Of ◽  
And Performance ◽  
The Relationship ◽  
Golden Age Spanish Theatre ◽  
Early 18Th Century ◽  
Past 300 Years

This chapter surveys the history of Russian translations of Golden Age Spanish theatre from the early 18th century until now, with a special focus on the relationship between translation trends and performance history. Our main goal is not only to document all known Russian translations of Spanish classical plays completed in the past 300 years, but also to elucidate the processes by which translation took part in the development and transformation of a specifically Russian comedia canon.

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