{"title":"The Grand Tour of Europe","authors":"Whitney Byrn","doi":"10.7146/NTS.V32I2.124349","DOIUrl":null,"url":null,"abstract":"This article investigates the artistic Grand Tour of the nineteenth-century Danish theatre painter C.F. Christensen made between the spring of 1838 and the fall of 1839, and how it influenced his later scenographic work at the Royal Danish Theatre. Using a variety of archival sources, his Grand Tour is reconstructed. His travels through Germany, Bohemia, Moravia, Switzerland, France, Italy, and the Tyrol exposed him to some of the greatest art and most innovative theatre Europe had to offer. Through the sketches done on his trip, it is possible to see the seeds of inspiration that took root in his scenography upon his return to Copenhagen. Scenography for two August Bournonville ballets that Christensen created after his return will be analyzed: The Festival in Albano and Acts 2 and 3 of Napoli.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"9 1","pages":"71-88"},"PeriodicalIF":0.1000,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Nordic Theatre Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.7146/NTS.V32I2.124349","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
引用次数: 0
Abstract
This article investigates the artistic Grand Tour of the nineteenth-century Danish theatre painter C.F. Christensen made between the spring of 1838 and the fall of 1839, and how it influenced his later scenographic work at the Royal Danish Theatre. Using a variety of archival sources, his Grand Tour is reconstructed. His travels through Germany, Bohemia, Moravia, Switzerland, France, Italy, and the Tyrol exposed him to some of the greatest art and most innovative theatre Europe had to offer. Through the sketches done on his trip, it is possible to see the seeds of inspiration that took root in his scenography upon his return to Copenhagen. Scenography for two August Bournonville ballets that Christensen created after his return will be analyzed: The Festival in Albano and Acts 2 and 3 of Napoli.
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