By going into print, the ballet master, dancer, and writer on dance, Jean-Georges Noverre (1727-1810), helped to set the tone for major reforms in theatrical dance and furthered the development of a style of dramatic pantomime-ballet which would become known as ballet d'action. His dancing style and his ballets were taken up by some of his pupils, several of whom became leading choreographers in their own right, and thereby increased the impact of Noverre's work during and after his lifetime. His major publication, Lettres sur la danse, is a key text which is the primary reason for interest in Noverre today, and its first English translation, The Works of Monsieur Noverre translated from the French, which appeared in 1782, is the focus of this volume. Lettres sur la danse was completed in the autumn of 1759, with a publication date of 1760, and appeared in numerous editions including those of Vienna (1767), Amsterdam (1787), St Petersburg (1803-4), and Paris (1807). The text, which is presented as near as is possible to its 18th-century form, is accompanied by an introduction and commentary, and by eight illustrated essays by dance historians and musicologists, which shed light on aspects of Noverre's career, and on the development of his theories.

Musaicum Books presents to you a meticulously edited Balzac collection. This ebook has been designed and formatted to the highest digital standards and adjusted for readability on all devices. Content: The Human Comedy: Scenes From Private Life: At the Sign of the Cat and Racket The Ball at Sceaux The Purse Vendetta Madame Firmiani A Second Home Domestic Peace Paz Study of a Woman Another Study of Woman The Grand Breteche Albert Savarus Letters of Two Brides A Daughter of Eve A Woman of Thirty The Deserted Woman La Grenadiere The Message Gobseck The Marriage Contract A Start in Life Modeste Mignon Beatrix Honorine Colonel Chabert The Atheist's Mass The Commission in Lunacy Pierre Grassou Scenes From Provincial Life Ursule Mirouet Eugenie Grandet Pierrette The Vicar of Tours The Two Brothers The Illustrious Gaudissart The Muse of the Department Eve and David Scenes From Parisian Life Scenes from a Courtesan's Life A Prince of Bohemia A Man of Business Gaudissart II Unconscious Comedians Ferragus The Duchesse de Langeais The Girl with the Golden Eyes Father Goriot Rise and Fall of Cesar Birotteau The Firm of Nucingen Secrets of the Princesse de Cadignan Bureaucracy Sarrasine Facino Cane Cousin Betty Cousin Pons The Lesser Bourgeoisie Scenes From Political Life An Historical Mystery An Episode Under the Terror The Brotherhood of Consolation Z. Marcas The Deputy of Arcis Scenes From Military Life The Chouans A Passion in the Desert Scenes From Country Life The Country Doctor Juana Farewell The Recruit El Verdugo A Drama on the Seashore The Red Inn The Elixir of Life Maitre Cornelius Catherine de' Medici Louis Lambert The Exiles Seraphita Short Stories The Napoleon of the People Droll Stories Plays Vautrin The Resources of Quinola Paméla Giraud The Stepmother Mercadet Analytical Studies

The history of dance theory has never been told. Writers in every age have theorized prescriptively, according to their own needs and ideals, and theorists themselves having continually asserted the lack of any pre-existing dance theory. Dance Theory: Source Readings from Two Millenia of Western Dance revives and reintegrates dance theory as a field of historical dance studies, presenting a coherent reading of the interaction of theory and practice during two millennia of dance history. In fifty-five selected readings with explanatory text, this book follows the various constructions of dance theories as they have morphed and evolved in time, from ancient Greece to the twenty-first century. Dance Theory is a collection of source readings that, commensurate with current teaching practice, foregrounds dance and performance theory in its presentation of western dance forms. Divided into nine chapters organized chronologically by historical era and predominant intellectual and artistic currents, the book presents a history of an idea from one generation to another. Each chapter contains introductions that not only provide context and significance for the individual source readings, but also create narrative threads that link different chapters and time periods. Based entirely on primary sources, the book makes no claim to cite every source, but rather, in connecting the dots between significant high points, it attempts to trace a coherent and fair narrative of the evolution of dance theory as a concept in Western culture.

The late-eighteenth century witnessed multiple Medeas take to the stages of Europe, in the Americas, and across the Russian empire. Performances took place in Moscow and São Paulo, in London and Lisbon, in Gotha, Stuttgart, and Venice. This lively collection of essays examines the various reasons why Medea, the ancient mother who killed her own children, attracted the attention of authors, audiences, actors, and rulers in Europe and its dominions during the pivotal period 1750 to 1800, and to what effects. As a migrant and iconoclast, Medea crosses a number of eighteenth-century borders: linguistic, cultural, national, temporal, spatial, aesthetic, ethical, and generic. Moreover, the fact that late-eighteenth-century playwrights, poets, composers, and choreographers all turned to one of the most problematic characters of Greco-Roman antiquity offers a unique opportunity to examine the remarkable flexibility of the reception process itself. Medea therefore functions as an intriguing case study, reflecting a wider context of cultural and political change within Europe and its colonies in the late-eighteenth century. By drawing together eighteenth-century specialists working across multiple languages and disciplines with the reception perspective of classical scholars, this volume brings much rare material from a range of archives across continental Europe to critical attention for the first time. Mapping Medea shows how the eighteenth century made Medea modern, and Medea helped to shape modern performance.

Popularizing National Pasts is the first truly cross-national and comparative study of popular national histories, their representations, the meanings given to them and their uses, which expands outside the confines of Western Europe and the US. It draws a picture of popular histories which is European in the full sense of this term. One of its fortes is the inclusion of Eastern Europe. The cross-national angle of Popularizing National Pasts is apparent in the scope of its comparative project, as well as that of the longue durée it covers. Apart from essays on Britain, France, and Germany, the collection includes studies of popular histories in Scandinavia, Eastern and Southern Europe, notably Romania, Bulgaria, Croatia, Armenia, Russia and the Ukraine, as well as considering the US and Argentina. Cross-national comparison is also a central concern of the thirteen case studies in the volume, which are, each, devoted to comparing between two, or more, national historical cultures. Thus temporality –both continuities and breaks- in popular notions of the past, its interpretations and consumption, is examined in the long continuum. The volume makes available to English readers, probably for the first time, the cutting edge of Eastern European scholarship on popular histories, nationalism and culture.

During the first two decades of the eighteenth century, two evolving dance-historical realms intersected—theory and practice. While the French produced works on notation, choreography, and repertoire, German dance writers responded with an important body of work on dance theory. This book examines the reception of French dance in Germany.