Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-10T13:59:07Z No. of bitstreams: 1 Bárbara Bueno Garibaldi.pdf: 1862608 bytes, checksum: c688dab92ed4bbf9d82b57e1e1de2dc0 (MD5) / Made available in DSpace on 2017-04-10T13:59:07Z (GMT). No. of bitstreams: 1 Bárbara Bueno Garibaldi.pdf: 1862608 bytes, checksum: c688dab92ed4bbf9d82b57e1e1de2dc0 (MD5) Previous issue date: 2017-03-31 / The 19th century Europe has passed for many transformations, among they, the setting of italian unification. This political process had the support of some personalities, as Giuseppe Verdi, one of the most important italian opera composers. Between his most famous compositions, La Traviata stands out for its big sucess in the after year of debut. In its first presentation, this opera were strongly criticized. This research discusses the reception of this drama by the bourgeoisie, through the libretto and literary and historical plot, analyzes few aspects of period. Thus, this opera were considered imoral and offensive for good customs of italian bourgueois society, who recognized his own defects in this spectacle / A Europa do século XIX passou por diversas transformações, entre elas, a consolidação da unificação italiana. Este processo político contou com o apoio de algumas personalidades, como Giuseppe Verdi, um dos mais importantes compositores de ópera italianos. Entre suas composições mais famosas, La Traviata destaca-se por seu grande sucesso, no ano posterior à sua estreia. Em sua primeira apresentação, esta ópera foi duramente criticada. Esta pesquisa, discute a recepção da obra pela burguesia, através do libreto e tramas literária e histórica, analisa alguns aspectos do período. Desta forma, esta ópera foi considerada imoral e ofensiva aos bons costumes da sociedade burguesa italiana, que reconheceu seus próprios defeitos neste espetáculo

If one painstakingly analyzes and compares the novel, the theatrical and the libretto versions of Marguerite-Violetta, a several-time reborn character from the novel and drama Camille, one notices striking differences and gleans useful insights as to the peculiarity of the three genres involved (novel, theatre and opera) and as to the reductive work of the libretto writer who, by modifying the roles of the characters and the values they channel, achieves a synthesis that has no match in the works he draws from. / This thesis aimed precisely at highlighting the intervening differences among the three genres, while pointing out the changes which were introduced and the peculiar nature of the final product, the libretto of La Traviata .

Alexandre Dumas fils' La Dame aux Camélias has existed in various media for more than 150 years, originating from life events that were mediated through the novel and remediated via theater, opera, and film. I examine in my thesis how this particular narrative has survived the centuries and how each depiction relates the social expectations, desires, and fears of the time period in which the revised story is generated. The relationship between Dumas and the famous courtesan Marie Duplessis and its fictional recreations in Dumas' novel La Dame aux Camélias, his play Camille, Giuseppe Verdi's opera La Traviata, and Baz Luhrmann's film Moulin Rouge! reflects a human compulsion to create narratives in order to grasp daily events and to potentially escape those events or comment upon those which do not fit concisely into their socially expected codes of understanding.

No description available.

In music, the term verismo usually refers to a realistic or naturalistic movement in Italian operas of the late nineteenth century. From the dawn of Italian opera four features have been manifested--umanita (humanism), sincerity (sincerity), passione (passion), effetto (not only theatrical effect but the supreme dramatic moment). The elements of verismo are among the characteristics present in the operas of Giuseppe Verdi where they reached a zenith of development. It is upon these veristic aspects, as identified in the second chapter, that the operas Cavalleria Rusticana and Pagliacci were based. Rigoletto, Il Trovatore, and La Traviata richly exhibit these elements of verismo which have been identified in the fourth chapter.

Le film d’opéra correspond à la rencontre de deux formes d’art ayant chacune ses propres règles de mise en scène. Il nécessite de concilier les exigences de l’opéra et celles du cinéma, mais prétend aussi favoriser leur enrichissement mutuel. Notre réflexion porte sur la pertinence, du point de vue créatif, de cette rencontre. Elle vise à mettre en évidence les risques, les enjeux et les intérêts artistiques du film d’opéra. Le corpus revêt une dimension franco-italienne : il se compose de cinq films produits par Daniel Toscan du Plantier (Don Giovanni de Joseph Losey, Carmen de Francesco Rosi, La Bohème de Luigi Comencini, Madame Butterfly de Frédéric Mitterrand, Tosca de Benoît Jacquot) et de deux autres, non produits par lui : La Traviata et Otello de Franco Zeffirelli, qui appartiennent à cette même « vague » du film d’opéra. L’étude s’intéresse tout d’abord à la politique culturelle du producteur Daniel Toscan du Plantier, grâce à qui ce genre cinématographique s’est développé de façon significative dans les années 1980, afin de définir le contexte de création de ses films, de comprendre son engagement en faveur de ce genre artistique et son intérêt tout particulier pour la culture italienne. Notre analyse tend par la suite à évaluer les difficultés techniques ainsi que les libertés créatives qu’engendre le passage à l’écran. L’écriture cinématographique de l’opéra implique des concessions sur le plan de la réalisation et nécessite un positionnement entre les deux esthétiques, mais elle permet aussi une lecture nouvelle et originale de l’opéra. Nous évaluons à la fois les exigences résultant de l’articulation opéra-cinéma et les solutions apportées par les réalisateurs pour répondre à ces contraintes, bien souvent musicales. La réflexion se concentre dans la seconde partie sur l’aboutissement de cette union, tout d’abord à travers l’analyse de l’interprétation visuelle de la musique fournie par les réalisateurs pour chacun des films du corpus, selon une approche thématique. Elle montre comment l’image mobile transcrit la musique, comment l’écriture cinématographique traduit visuellement la partition et peut accroître la dimension émotive. Enfin, elle s’intéresse à la réception de ces films en France et en Italie, en vue de mesurer l’accueil reçu par chacun auprès de la critique, partagée entre démocratisation de l’opéra et vulgarisation de l’art lyrique. / The "opera film" corresponds to the encounter between two art forms envolving specific staging rules. It combines the requirements of opera and cinema alike whilst endeavouring to promote their mutual enrichment. In this dissertation I analyse the relevance of this encounter from a creative point of view. I intend to highlight the risks, stakes and artistic appropriateness of the opera film. The body of works has a Franco-italian dimension: it includes five films produced by Daniel Toscan du Plantier (Joseph Losey's Don Giovanni, Francesco Rosi's Carmen, Luigi Comencini's La Bohème, Frédéric Mitterrand's Madama Butterfly and Benoît Jacquot's Tosca) as well as two other films which he did not produced: La Traviata and Otello, by Franco Zeffirelli, also belong to this opera film "wave". First of all, I examine Daniel Toscan du Plantier's cultural policy as a producer. Indeed, it was thanks to him that this cinematic genre flourished significantly in the 1980s. I aim to define the creative context of these films and to understand his commitment towards their promotion as well as his genuine interest for Italian culture. I then move on to analysing the technical difficulties as well as the creative licence which results from screen adaptation. On the one hand, the cinematographic writing of opera implies concessions in staging and requires a position be taken in respect of aesthetics, cinematographic and opera. On the other hand, it also triggers a new and original reading of opera. I assess the requirements which result from the opera-cinema articulation and the solutions, often musical, proposed by films directors confronted to these constraints. In Part II I focus on the achievements of this union, first by thematically analysing each director's the visual interpretation of music provided in the films included in the body of works. I argue that the moving image transcribes music, that cinematographic writing translates the music score visually and that it can enhance the emotional dimension. Finally, I examine the response to these films in France and in Italy, especially through the critics divided between the democratisation of opera and the vulgarisation of lyric art.