In lieu of an abstract, here is a brief excerpt of the content:
Reviewed by:
Databases, Revenues, & Repertory: The French Stage Online, 1680–1793 / Données, recettes & répertoire. La scène en ligne (1680–1793) ed. by Sylvaine Guyot and Jeffrey S. Ravel
Susan L. Fischer
Databases, Revenues, & Repertory: The French Stage Online, 1680–1793 / Données, recettes & répertoire. La scène en ligne (1680–1793). Edited by Sylvaine Guyot and Jeffrey S. Ravel. MIT PRESS, 2020.
THIS DIGITAL-ONLY, open-access, bilingual volume focuses on the ongoing work of the Comédie-Française Registers Project, an international initiative that investigates how digital humanities methods might “facilitate, enrich, and affect the study of the theatrical past,” as Sylvaine Guyot and Jeffrey S. Ravel state in their introduction (3). The Comédie-Française Registers Project springs from the incredibly complete manuscript and print records of the Comédie-Française preserved in the Bibliothèque-Musée at the far side of the Palais-Royal in Paris. A set of 112 folio registers that records nightly box office receipts from over 34,000 performances has been digitalized. That sales data has been made available online through three search and visualization tools, with access provided through an application program interface. The volume— comprised of three sets of essays, their respective comment, and a postface—is available as a PDF for download from (https://cfrp.mitpress.mit.edu). The editors and their contributors offer a dialogical approach to questions such as: How did politics, economics, and social conflict fashion the troupe’s repertory and affect its finances? Was the theater a place for critical colloquy of public issues, or a place to seek escape from the vicissitudes of life’s experiences?
Section 1, “Interpreting Data, Visualizations, and Sound,” explores the long-term tendencies in box office receipts and repertory choices throughout the eighteenth century and is rounded off by Dan Edelstein’s comment aptly titled “Back to the Future.” In his essay, “The Comédie-Française by the Numbers, 1752–2020,” Ravel compellingly invokes three earlier print studies—those of a “grub street writer” (Charles de Fieux, Chevalier de Mouhy, 1701–84), “an érudit” (Alexandre Joannidès, 1879–1926), and an “American literary historian” (Henry Carrington Lancaster, 1882–1954)—that [End Page 111] attempted to quantify the daily receipt registers of the Comédie-Française theater troupe. In the same way that the Comédie-Française Registers Project and other digital humanities projects reflect the exigencies of the second decade of the twenty-first century, so each of those earlier endeavors was informed by the ideological and sociocultural interests and expectations of the historical moment. Revisiting
这里是内容的一个简短摘录，而不是摘要:由:数据库，收入，&剧目:法国舞台在线，1680-1793 / donnsames, recettes &曲目。《科学》(1680-1793)，Sylvaine Guyot和Jeffrey S. Ravel编辑，Susan L. Fischer数据库，revenue， &剧目:法国舞台在线，1680-1793 / donnsames, recettes &曲目。《科学》(1680-1793)。由Sylvaine Guyot和Jeffrey S. Ravel编辑。麻省理工学院出版社，2020。这本仅限数字、开放获取、双语的书集中介绍了comsamdie - francaise register项目正在进行的工作，这是一项国际倡议，旨在研究数字人文方法如何“促进、丰富和影响对戏剧历史的研究”。正如Sylvaine Guyot和Jeffrey S. Ravel在他们的介绍中所说的那样(3)。comsamdie - franaise登记册项目源于巴黎皇家宫殿远处的biblioth - muse保存的comsamdie - franaise的令人难以置信的完整手稿和印刷记录。一套112个记录仪记录了34,000多场演出的夜间票房收入。这些销售数据已通过三种搜索和可视化工具在线提供，并可通过应用程序接口访问。这本书由三组文章、各自的评论和一张明信片组成，可从(https://cfrp.mitpress.mit.edu)以PDF格式下载。编辑和他们的投稿人提供了一个对话的方法来回答以下问题:政治、经济和社会冲突如何塑造剧团的剧目并影响其财务状况?剧院是一个对公共问题进行批判性讨论的地方，还是一个逃避人生经历沧桑的地方?第一部分“解读数据、可视化和声音”探讨了整个18世纪票房收入和保留曲目选择的长期趋势，丹·埃德尔斯坦(Dan Edelstein)的评论恰如其分地以“回到未来”(Back to the Future)结尾。在他的文章《comsamdie - francalaise by The Numbers, 1752-2020》中，拉威尔令人信服地引用了三个早期的印刷研究——“grub street writer”(Charles de Fieux, Chevalier de Mouhy, 1701-84)、“an samuit”(Alexandre joannid， 1879-1926)和“American literary史学家”(Henry Carrington Lancaster, 1882-1954)——这些研究试图量化comsamdie - francalaise剧团的日常收纳记录。同样地，comsamdie - francaise登记册项目和其他数字人文项目反映了21世纪第二个十年的紧急情况，因此，早期的每一项努力都受到历史时刻的意识形态和社会文化利益和期望的影响。现在，重新审视这些早期的研究不仅强调了“创新的定量学术在我们当前的计算方法之前就存在了”，而且还允许更好地理解和评估当前数字模式的“好处、可能性和局限性”(Guyot和Ravel 5)。Ravel关于其前辈的成功和局限性的说法是理解当前数字人文项目本质的试金石:如果上述三位研究者的工作“以古抄本的形式存在，并在保存过去丰富的书目遗产的实体图书馆中存在”，那么今天的数字技术可以随时提供世界范围内的访问(到comsamdie - franaise登记册)(29)。然而，这些技术的持久可持续性和创造一种保护它们的方法的承诺“充其量是不稳定的”，其结果是这些数据对未来读者的可用性无法保证(29)。另一方面，拉威尔认为，com -法兰西登记册项目提供的数据不会使人文学术过时，虽然很少有人文学者会用“在线滚动和点击”取代“仔细阅读和审美判断”，但大多数人会发现对大量数据的可视化分析可能给特定学科带来的有趣见解(30)。这种对数字人文倡议利弊的平衡评估贯穿于整本编辑过的书中，使其成为一种挑衅性的思考，不仅仅是关于夜间票房数据拓宽戏剧和表演研究视角的方式;文学研究是物质和经济研究的补充。
{"title":"Databases, Revenues, & Repertory: The French Stage Online, 1680–1793 / Données, recettes & répertoire. La scène en ligne (1680–1793) ed. by Sylvaine Guyot and Jeffrey S. Ravel (review)","authors":"Susan L. Fischer","doi":"10.1353/boc.2021.0032","DOIUrl":"https://doi.org/10.1353/boc.2021.0032","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Databases, Revenues, & Repertory: The French Stage Online, 1680–1793 / Données, recettes & répertoire. La scène en ligne (1680–1793)</em> ed. by Sylvaine Guyot and Jeffrey S. Ravel <!-- /html_title --></li> <li> Susan L. Fischer </li> </ul> <em>Databases, Revenues, & Repertory: The French Stage Online, 1680–1793 / Données, recettes & répertoire. La scène en ligne (1680–1793)</em>.<br/> Edited by Sylvaine Guyot and Jeffrey S. Ravel.<br/> MIT PRESS, 2020. <p><strong>THIS DIGITAL-ONLY</strong>, open-access, bilingual volume focuses on the ongoing work of the Comédie-Française Registers Project, an international initiative that investigates how digital humanities methods might “facilitate, enrich, and affect the study of the theatrical past,” as Sylvaine Guyot and Jeffrey S. Ravel state in their introduction (3). The Comédie-Française Registers Project springs from the incredibly complete manuscript and print records of the Comédie-Française preserved in the Bibliothèque-Musée at the far side of the Palais-Royal in Paris. A set of 112 folio registers that records nightly box office receipts from over 34,000 performances has been digitalized. That sales data has been made available online through three search and visualization tools, with access provided through an application program interface. The volume— comprised of three sets of essays, their respective comment, and a postface—is available as a PDF for download from (https://cfrp.mitpress.mit.edu). The editors and their contributors offer a dialogical approach to questions such as: How did politics, economics, and social conflict fashion the troupe’s repertory and affect its finances? Was the theater a place for critical colloquy of public issues, or a place to seek escape from the vicissitudes of life’s experiences?</p> <p>Section 1, “Interpreting Data, Visualizations, and Sound,” explores the long-term tendencies in box office receipts and repertory choices throughout the eighteenth century and is rounded off by Dan Edelstein’s comment aptly titled “Back to the Future.” In his essay, “The Comédie-Française by the Numbers, 1752–2020,” Ravel compellingly invokes three earlier print studies—those of a “grub street writer” (Charles de Fieux, Chevalier de Mouhy, 1701–84), “an érudit” (Alexandre Joannidès, 1879–1926), and an “American literary historian” (Henry Carrington Lancaster, 1882–1954)—that <strong>[End Page 111]</strong> attempted to quantify the daily receipt registers of the Comédie-Française theater troupe. In the same way that the Comédie-Française Registers Project and other digital humanities projects reflect the exigencies of the second decade of the twenty-first century, so each of those earlier endeavors was informed by the ideological and sociocultural interests and expectations of the historical moment. Revisiting ","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":"18 4","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lope de Vega y el Humanismo cristiano ed. by Jesús Ponce Cárdenas, and: Literatura y devoción en tiempos de Lope de Vega ed. by Jesús Ponce Cárdenas (review)","authors":"Chad Leahy","doi":"10.1353/boc.2021.0019","DOIUrl":"https://doi.org/10.1353/boc.2021.0019","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":"73 1","pages":"191 - 195"},"PeriodicalIF":0.3,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46854189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Hacia un primer teatro clásico. El teatro del Renacimiento en su laberinto ed. by Julio Vélez Sainz (review)","authors":"Laura Mier Pérez","doi":"10.1353/boc.2021.0016","DOIUrl":"https://doi.org/10.1353/boc.2021.0016","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":"73 1","pages":"197 - 200"},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49028074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This research note provides an overview of Comedias Sueltas USA, a website dedicated to a census of holdings in US academic and independent research libraries of sueltas, understood as individual plays within the literatura de cordel tradition, published from circa 1600 to 1833 by printers based in Iberian cities, as well as population centers in Europe and the Americas ruled by Spain or within its sphere of cultural and political influence. We outline the project's fundamental goals and evolving methodologies since its conception in the early 1980s, as its founder and her collaborators have navigated the momentous technological changes that have placed special collections librarianship at the forefront of digital humanities. More recently, the project's collaborators adjusted their methods in response to the sudden closure of libraries the world over during the COVID-19 pandemic. Along with this chronicle of the long-running research collaboration, the authors provide an orientation to and explanation of the Comedias Sueltas USA website, explaining the kinds of research methods it supports for comedia and theater history studies, while also contemplating the potential for applying big data to major special collections projects.
{"title":"Where Comedias Sueltas Go to Be Discovered","authors":"Szilvia E. Szmuk-Tanenbaum, M. Zalin","doi":"10.1353/boc.2021.0002","DOIUrl":"https://doi.org/10.1353/boc.2021.0002","url":null,"abstract":"Abstract:This research note provides an overview of Comedias Sueltas USA, a website dedicated to a census of holdings in US academic and independent research libraries of sueltas, understood as individual plays within the literatura de cordel tradition, published from circa 1600 to 1833 by printers based in Iberian cities, as well as population centers in Europe and the Americas ruled by Spain or within its sphere of cultural and political influence. We outline the project's fundamental goals and evolving methodologies since its conception in the early 1980s, as its founder and her collaborators have navigated the momentous technological changes that have placed special collections librarianship at the forefront of digital humanities. More recently, the project's collaborators adjusted their methods in response to the sudden closure of libraries the world over during the COVID-19 pandemic. Along with this chronicle of the long-running research collaboration, the authors provide an orientation to and explanation of the Comedias Sueltas USA website, explaining the kinds of research methods it supports for comedia and theater history studies, while also contemplating the potential for applying big data to major special collections projects.","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":"73 1","pages":"13 - 32"},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46099397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"¿Quién te lo vezó a dezir? El habla de negro en la literatura del XVI, imitación de una realidad lingüística by Antonio Santos Morillo (review)","authors":"Diana Berruezo-Sánchez","doi":"10.1353/boc.2021.0017","DOIUrl":"https://doi.org/10.1353/boc.2021.0017","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":"73 1","pages":"201 - 203"},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48161110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Quest for Certainty in Early Modern Europe: From Inquisition to Inquiry, 1550–1700 ed. by Barbara Fuchs and Mercedes García-Arenal (review)","authors":"S. Kimmel","doi":"10.1353/boc.2021.0009","DOIUrl":"https://doi.org/10.1353/boc.2021.0009","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":"73 1","pages":"159 - 163"},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44493058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Don W. Cruickshank (1942–2021)","authors":"Germán Vega García-Luengos","doi":"10.1353/boc.2021.0001","DOIUrl":"https://doi.org/10.1353/boc.2021.0001","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":"73 1","pages":"10 - 7"},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49234895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"El caballero dama. Edición crítica y estudio introductorio de Sidney Donnell by Cristóbal de Monroy y Silva (review)","authors":"José R. Cartagena-Calderón","doi":"10.1353/boc.2021.0013","DOIUrl":"https://doi.org/10.1353/boc.2021.0013","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":"73 1","pages":"177 - 179"},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41350392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:An interview with David Boceta, director of En otro reino extraño (2020) for Spain's Joven Compañía Nacional de Teatro Clásico, details the innovative collaboration in digital theater that took shape in the spring of 2020 in response to a seeming calamity for theater professionals—the sudden shutdown of theaters precipitated by the COVID-19 pandemic. The director explains how the team of collaborators recontextualized a selection of comedias, prose drama, and lyric poetry in which Lope de Vega pondered exile, love, and poetic creation at the end of the sixteenth century. A writer's dislocation became a powerful metaphor for a theater company exploring a new realm for theater performance using a videoconferencing platform.
摘要：西班牙Joven Compañía Nacional de Teatro Clásico的En otro reino extraño（2020）导演David Boceta在接受采访时详细介绍了2020年春季为应对新冠肺炎疫情导致的影院突然关闭这场似乎对影院专业人士造成的灾难而在数字影院领域形成的创新合作。导演解释了合作团队是如何将一系列喜剧、散文剧和抒情诗重新文本化的，洛佩·德·维加在这些作品中思考了16世纪末的流亡、爱情和诗歌创作。一位作家的错位成为一个强有力的隐喻，象征着一家戏剧公司正在利用视频会议平台探索戏剧表演的新领域。
{"title":"En otro reino extraño: Un proyecto pionero desde la escena clásica. Entrevista a David Boceta, director del montaje","authors":"Esther Fernández","doi":"10.1353/boc.2021.0018","DOIUrl":"https://doi.org/10.1353/boc.2021.0018","url":null,"abstract":"Abstract:An interview with David Boceta, director of En otro reino extraño (2020) for Spain's Joven Compañía Nacional de Teatro Clásico, details the innovative collaboration in digital theater that took shape in the spring of 2020 in response to a seeming calamity for theater professionals—the sudden shutdown of theaters precipitated by the COVID-19 pandemic. The director explains how the team of collaborators recontextualized a selection of comedias, prose drama, and lyric poetry in which Lope de Vega pondered exile, love, and poetic creation at the end of the sixteenth century. A writer's dislocation became a powerful metaphor for a theater company exploring a new realm for theater performance using a videoconferencing platform.","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":"73 1","pages":"205 - 215"},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48236461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Signos vitales: procreación e imagen en la narrativa áurea by Enrique García Santo-Tomás (review)","authors":"Fernando Sanz-Lázaro","doi":"10.1353/boc.2021.0010","DOIUrl":"https://doi.org/10.1353/boc.2021.0010","url":null,"abstract":"","PeriodicalId":42292,"journal":{"name":"BULLETIN OF THE COMEDIANTES","volume":"73 1","pages":"165 - 168"},"PeriodicalIF":0.3,"publicationDate":"2022-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45733316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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