Orientador: Orna Messer Levin / Acompanha 1 CD-ROM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-14T12:21:36Z (GMT). No. of bitstreams: 1 Carvalho_DanielleCrepaldi_M.pdf: 8306817 bytes, checksum: 03d52e563169bdbc68987dd592f976fa (MD5) Previous issue date: 2009 / Resumo: Neste trabalho, analiso a produção teatral com que o literato Henrique Maximiniano Coelho Netto (1864-1934) - autor importante na virada do século XIX para o XX - inaugurou sua intervenção nos palcos cariocas, em especial o "poema dramático" Pelo Amor! (1897), o "episódio lírico" Ártemis e a "balada em prosa rítmica" Hóstia (1898). Através de tais obras, o literato almejava combater a crise que, segundo seu julgamento, o teatro enfrentava. Sua crítica era dirigida tanto às peças teatrais representadas nas casas de espetáculos comerciais do Rio de Janeiro quanto aos artistas que nelas atuavam. O repertório das companhias que estavam em cartaz na capital era composto, em sua maioria, pelos melodramas lacrimosos e especialmente pelas comédias musicadas - estas recebiam a contribuição dos gêneros musicais populares (a exemplo do lundu e do maxixe). As comédias musicadas exploravam as situações cômicas, algumas vezes fantasiosas, por meio de diálogos construídos, muitas vezes, sobre o duplo sentido das palavras. Além da ausência de qualidades artísticas, Netto considerava essas comédias musicadas licenciosas, já que invariavelmente assumiam uma conotação sexual, devido aos ditos ambíguos que utilizavam e às danças sensuais. Sendo assim, o literato propunha-se a conduzir uma regeneração nos palcos, apoiando-se, para isso, na tradição literária ocidental, da qual retirou os assuntos para a escrita desses dramas. E por acreditar que o elenco profissional não tinha condições intelectuais para levar à cena peças literárias, estimulou que fossem encenadas por um elenco amador composto pela elite econômica do Rio de Janeiro. Pelo Amor! trata da desolação de uma condessa escocesa frente à perda do esposo e o amor que nutre por ele, o qual engendrará o desfecho trágico de ambos. A atmosfera lúgubre que perdura no drama se reflete na música criada por Leopoldo Miguez, que, tendo sofrido visível influência do músico alemão Richard Wagner, criou temas musicais para as personagens principais e esboçou uma interação entre elas no plano musical. A iniciativa conquistou adeptos mas também recebeu críticas. O mesmo deu-se, no ano seguinte, quando da encenação de Ártemis (música de Alberto Nepomuceno) e Hóstia (música de Delgado de Carvalho), no ano seguinte. Na verdade, muitas foram as críticas, ora às peças, ora à relação entre o texto e a música, reação que, em grande medida, tangia o aspecto político. Ora, a imposição de um novo modelo artístico intentava gerar a reordenação do cenário artístico carioca e a exclusão de obras consagradas pelo público e também parte da crítica, como as óperas italianas, as comédias musicadas e os melodramas. Proponho-me, na presente dissertação, a analisar as três peças de Coelho Netto à luz da produção teatral e crítica da época e sobre a época, e daquilo que os literatos do Rio de Janeiro publicaram a respeito da movimentação cultural da cidade. Ocasionalmente, tal trabalho também irá se estender à partitura das obras, para que a relação entre texto e música seja melhor compreendida. / Abstract: In this work, I analyze the theater plays with which Henrique Maximiniano Coelho Netto (1864- 1934) - important Brazilian writer in the turn of the nineteenth century to the twentieth - started his interference in the stage of Rio de Janeiro, specially the "dramatic poem" Pelo Amor! (1897), the "lyric episode" Ártemis and the "ballad in rhythmic prose" Hóstia (1898). Through these plays, the writer claimed to defeat the crisis he believed the theatre was facing. His criticism aimed the plays presented in the commercial theaters of Rio de Janeiro and the actors and actresses that played them. Thecompanies' repertoire was restricted to almost only teary melodramas and specially musical comedies - the comedies had the contribution of popular music (for example, lundu and maxixe) and presented usually funny and sometimes fantastic situations, with dialogues that eventually leaned upon double senses. Beyond the lack of artistic qualities, Netto considered the musical comedies vicious, because of the sexual insinuation they implied through dialogues and music. Therefore, the writer intended to conduct a regeneration of the stage, using for that the occidental literary tradition, from where the subjects of these plays were chosen. And because he believed the professional artists lacked intellectual conditions to present literary plays, he gave his work to be put on stage by amateur groups that had the economic elite as members. Pelo Amor! presents the desolation of a Scottish countess because of the loss of her husband and the love that she devotes to his, which is responsible for the tragic ending of both. The grim atmosphere that remains in the drama reflects in the music created by Leopoldo Miguez, that had suffered visible influence of the German musician Richard Wagner, for Miguez creates musical themes for the leading characters and paints an interaction between them in the musical field. But the idea didn't have only adepts. The same happened with Ártemis (music by Alberto Nepomuceno) and Hóstia (music by Delgado de Carvalho), in the following year. In fact, many were the detractors of the texts and music of these plays, reaction that is largely related to political aspects, once the imposition of a new artistic model intended to cause the reorganization of Rio's artistic scenery and the exclusion of work of arts that were successful among the public and also part of the critic, like the Italian opera, the musical comedies and the melodramas. I intend to analyze these plays taking in consideration the theatrical and critical production of that time and of nowadays and what Rio's writers published related to the cultural activities of the capital. This work will also occasionally refer to the printed lyrics of the plays in order to understand the relation between text and music. / Mestrado / Literatura e Outras Produções Culturais / Mestre em Teoria e História Literária

There are two major, well-known operas based on plays of Tennessee Williams. He refused many times throughout his life to give permission for his play, A Streetcar Named Desire, to be set as an opera. It was not until the 1960s that he granted permission for Lee Hoiby to choose any of his plays as a basis for a new opera. Hoiby chose Summer and Smoke, a play which was written at approximately the same time as Streetcar. Lanford Wilson created the libretto for the opera which was given its premier in 1971 by the St. Paul Opera Association. In 1994 representatives of the Williams estate granted permission to the San Francisco Opera to commission an opera based on A Streetcar Named Desire. With a libretto by Philip Littell, the opera was composed by André Previn and given its premier in 1998. These two plays share common themes, character types, character relationships, and literary symbols due in part to the autobiographical nature of Williams's writings. The plays exhibit a cinematic nature and possess common dramatic elements such as the symbolic use of sets, props, and musical leitmotifs as a result of his attempts to create a new "plastic" style of theatre. The purpose of this thesis is to examine how each composer has captured the essence of Williams's dramatic style in these well known plays while dealing with stylistic elements that by nature could interfere in operatic composition. A brief biography of Williams is included to show the familial basis of his character types. Illustrations of his style serve as the basis for a comparison of the librettos to the plays. The musical analysis focuses on the composers' choices in dealing with Williams's poetic southern language, use of music, cinematic techniques, and complex characterizations.

Bc. Kateřina Řeháková Searching for staging tradition of Bohuslav Martinů's opera Julietta on Czech stages Abstract The master's thesis depicts all productions of Bohuslav Martinů's opera Julietta on Czech stages since the world premiere in Prague in 1938 till the last one, performed in Brno in 2009. It describes staging techniques and their transformations and shows how the productions make use of other productions' methods or how they are original. The pivotal production was the very first from 1938 produced by conductor Václav Talich, stage director Jindřich Honzl and set designer František Muzika who - in harmony - created a performance, which was considered perfect by the composer himself. Jindřich Honzl came up with the crucial staging dilemma which impacted next directors as well: to stage Julietta rather as a dream or more as a realistic story? The directors who were able to find a balance were more successful.

The theme of the thesis is the serious opera Nitteti, which was composed in 1765 by the Italian composer Domenico Fischietti at the end of his several-years-long residence in Prague. The thesis aims at introducing Fischietti's serious opera style, which has so far been neglected and mostly overshadowed by his comic operas. This work focuses on exploring and elaborating on the topic of Prague Italian opera of that era through the study of the opera Nitteti. At the same time, the opera Nitteti is compared with a later version of the same title composed for Naples by Fischietti in 1775. One of the foundations for examining the opera is the context of the theater production (especially performing singers) in both opera centers. The composer's treatment of the classical libretto by Pietro Metastasio in terms of music dramaturgy and the transformation of Fischietti's compositional style is also subject to comparison scrutiny in both versions. Keywords Domenico Fischietti, Nitteti, opera seria, Pietro Metastasio, 18th century, arias analysis

Thesis Abstract This diploma thesis analyses theatre music in three productions of Naši furianti and one film - the production by Josef Šmaha at the National Theatre in 1887, the production of opera Naši furianti at the State Opera Ostrava in 1949, the production by Vítězslav Vejražka in 1970 at the National Theatre and film Naši furianti by Vladislav Vančura a Václav Kubásek at the year 1937. This thesis correlates with my Semestral work which deal with an analysis of Miroslav Macháček's production of Naši furianti in 1979 at the National theatre and bachelor's thesis which deal with an analysis of the production by Petr Lébl at the theatre Na Zábradlí in 1994, the production by Jan Antotnín Pitinský in 2004 in the National Theatre and the production by Jan Born in 2011 at Divadlo v Dlouhé. This thesis is aiming to describe transformation od Czech theatre music in history and to analyse various functions of tgeatre music. Key words: Naši furianti, theatre music, Josef Šmaha, Vítězslav Vejražka, Vladislav Vančura, opera Naši furianti

The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai's nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China's musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.

Längst ut på piren i Värtahamnen har jag velat skapa Operastaden, en mikrostadsdel som är en egen värld helt uppbyggd kring opera. Hit skulle alla operarelaterade verksamheter flytta, såsom operahögskolan och baletthögskolan.  Mellan byggnaderna skulle folk springa i sina scenkläder, dekorer skulle lastas in och ut, och sångarna skulle värma upp sina stämmor på gården. Platsen skulle genomsyras av operaproduktion, och ta intryck av den dramatiska omgivande produktionsmiljön i hamnen. Inåt platsen skulle allt vara smyckat som dekorer, och scenografier och olika miljöer skulle vara uppbyggda för att vara experimentscener, där det blir oklart om vem som är besökare och vem som är skådespelare. Ta ett bad poolen i Mallis-miljö, eller picnica vid sjön bland tonerna från Verdi, operans förtrollade värld gör att du inte längre behöver bry dig om vad som är fantasi eller vad som är verklighet.  Opera är inte längre begränsat till om du har råd att betala en biljett, eller om du är för rastlös för att sitta i stolen genom alla tre akter.

Galärvarvet är på många sätt en utmärkt plats för en ny och framträdande kulturbyggnad i Stockholm. Samtidigt utgöt operans komplexa och omfattande program en stor utmaning. I detta projekt löses konflikten mellan program och plats meddels en långsmal byggnad som bevarar naturvärden och rörelsemönster. / Galarvarvet is in many ways an great site for a new and prominent cultural building in Stockholm. At the same time the complexity and size of the program of an opera poses a great challenge. In this project the conflict between program and site is solved with a stretched out building that preserves environmental values and movements.

Stockholmsoperan, Stadsgårdkajen, en opera för alla! Koppla samman och tillåta; Mitt huvudkoncept handlar om att skapa kopplingar i staden och locka människor att vistas på platsen, dag som natt, Stockholmsbo som värmlandsbo. Oavsett om du går på opera eller bara tar en kvällspromenad, vill äta en god matbit eller fika på café, ska operan tillgodose alla dessa behov.

České Budějovice struggles with unsuitable spaces for the Theatre and the Philharmonic. It is also confronted with urbanistic challenges of underused public spaces. This diploma thesis sets out to remedy these challenges and offer a possible solution through the design of Platform of live arts – opera and philharmonic halls at Mariánské náměstí. I approach this problematic area with an effort of creating a distinctive feature, that propagates new spatial relationships and changes the existing perception of space. The center of gravity, two performance halls, are placed in the utmost tip of the plot in confrontation with historical skyline of the old city. Counterweight of this expansive volume is a park, theatrical gardens at the opposite and. The idea is to preserve quality free space around which similar institutions might find their place in the future, thus creating a cultural oasis.