{"title":"I Dream a World: The Operas of William Grant Still (review)","authors":"Eugene H. Cropsey","doi":"10.1093/OQ/KBI080","DOIUrl":"https://doi.org/10.1093/OQ/KBI080","url":null,"abstract":"","PeriodicalId":42382,"journal":{"name":"OPERA QUARTERLY","volume":"1 1","pages":"173-176"},"PeriodicalIF":0.6,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83056596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Kurt Weill and Bertolt Brecht: The Seven Deadly Sins (Die sieben Todsünden)","authors":"Wayne Heisler","doi":"10.1093/OQ/KBI107","DOIUrl":"https://doi.org/10.1093/OQ/KBI107","url":null,"abstract":"","PeriodicalId":42382,"journal":{"name":"OPERA QUARTERLY","volume":"22 1","pages":"165-169"},"PeriodicalIF":0.6,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/OQ/KBI107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61513383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
metaphoric potential, but of the amount of ink consumed. Paragraphs, pages and, in a few cases, entire chapters are devoted to dancers’ life stories, careers, identities, connections, and colleagues, the schools or companies they founded, the venues at which they performed, their audiences and environments: in other words, the book charts who is dancing, when, where, and for whom. Chapter 11, by Larraine Nicholas, is a case in point. Although titled “British Modern Dance in the 1940s and 1950s,” the chapter tends to concentrate instead on the careers, geographical movements, performance ventures, and pedagogic activities of its chosen historical subjects (the three emigre dancers Kurt Jooss, Sigurd Leeder, and Rudolf von Laban). Chapter 9, “Katherine Dunham’s Floating Island of Negritude,” is structured similarly, though here with the performer-focus acknowledged in author Ramsay Burt’s title. Burt offers an account of Dunham’s dance training, career, and dance aesthetics, as well as noting the ideological and social contexts within which she worked. The most intriguing of the dancer studies, though, goes beyond the normative prescription. While centered upon the careers of three historical subjects, chapter 8, by Linda J. Tomko, is not entirely biographical. As her title implies, Tomko considers a professional interaction: between “Practitioners and Patrons of New Dance in Progressive-era America.” The argument has at its basis the issue of gender: in particular, the women’s rights movement of the late nineteenth and early twentieth centuries. Recounting U.S. separate spheres ideology, Tomko outlines how the dancers in question—the trio of Fuller, St. Denis, and Duncan mentioned earlier—engaged with female, reform-oriented audiences. Women’s study groups, culture clubs, and societies, she maintains, comprised a core component of the patronage network that supported the dancers, both financially and socially. As well as noting these backstage dealings, though, Tomko considers a more subliminal aspect to the professional engagement. She writes: “In the early twentiethcentury United States, a cluster of women movement practitioners took the opportunity to press for and to fashion dance practices that contested and confirmed current cultural issues” (p. 82). According to Tomko, then, the dancers engaged in topical debate through gestural expression. Dance itself was a vehicle of sociopolitical comment, a medium through which Fuller, St. Denis, and Duncan might reflect on women’s public-sphere activity. This is a seductive hypothesis, appealing not only to those notions, mentioned earlier, of dance as a socially embodied practice, but to broader critical currents— to feminism, feminist theory, and other “identitarian” themes that seem to encourage a dialogic, interdisciplinary critique. What is more, Tomko’s envisaging of dancers as participants in the cultural scene—as “creators and arbiters possessing cultural authority” (p. 90)—lines up neatly wit
隐喻的潜力，但墨水消耗的量。书中的段落、页面，甚至是个别章节，都专门讲述了舞者的生活故事、职业、身份、关系、同事、他们创办的学校或公司、他们表演的场地、观众和环境:换句话说，书中列出了谁在跳舞、何时、何地、为谁跳舞。Larraine Nicholas所著的第11章就是一个很好的例子。虽然标题是“20世纪40年代和50年代的英国现代舞”，但这一章倾向于把重点放在其选定的历史主题(三位移民舞者库尔特·乔斯、西格尔德·里德和鲁道夫·冯·拉班)的职业、地理运动、表演冒险和教学活动上。第9章“凯瑟琳·邓纳姆的黑人浮岛”的结构与此类似，不过作者拉姆齐·伯特在本书的标题中强调了演员的侧重点。伯特介绍了邓纳姆的舞蹈训练、职业生涯和舞蹈美学，并指出了她工作的意识形态和社会背景。然而，最有趣的舞者研究超出了规范的规定。琳达·j·托姆科(Linda J. Tomko)所著的第八章虽然以三位历史人物的职业生涯为中心，但并不完全是传记。正如她的标题所暗示的那样，Tomko考虑了一种专业的互动:“进步时代美国新舞蹈的实践者和赞助人”之间的互动。这一论点的基础是性别问题:特别是19世纪末和20世纪初的女权运动。托姆科叙述了美国独立领域的意识形态，概述了问题中的舞者——富勒、圣丹尼斯和邓肯三人组——是如何与女性、改革派观众互动的。她坚持认为，妇女学习小组、文化俱乐部和社团构成了赞助网络的核心组成部分，在经济上和社会上支持舞者。除了注意到这些幕后交易外，Tomko还考虑到了专业参与的一个更潜意识的方面。她写道:“在二十世纪初的美国，一群妇女运动的实践者抓住机会，推动和时尚舞蹈实践，挑战和确认当前的文化问题”(第82页)。根据Tomko的说法，舞者们通过手势表达来参与话题辩论。舞蹈本身是社会政治评论的载体，是富勒、圣丹尼斯和邓肯反思女性公共领域活动的媒介。这是一个诱人的假设，不仅吸引了前面提到的舞蹈作为一种社会体现实践的那些概念，而且吸引了更广泛的批评潮流——女权主义、女权主义理论和其他似乎鼓励对话、跨学科批评的“同一性”主题。更重要的是，Tomko将舞者设想为文化场景的参与者——作为“拥有文化权威的创造者和仲裁者”(第90页)——与当前对“表演”的跨学科品味完全一致:在当前背景下，舞者作为文化KBI22的所有者、建设者和传播者(而不是被动接受者)的概念(1)。书160页2007年2月8日星期四上午9:40
{"title":"Rethinking Dance History: A Reader, ed. Alexandra Carter","authors":"Davinia Caddy","doi":"10.1093/OQ/KBI106","DOIUrl":"https://doi.org/10.1093/OQ/KBI106","url":null,"abstract":"metaphoric potential, but of the amount of ink consumed. Paragraphs, pages and, in a few cases, entire chapters are devoted to dancers’ life stories, careers, identities, connections, and colleagues, the schools or companies they founded, the venues at which they performed, their audiences and environments: in other words, the book charts who is dancing, when, where, and for whom. Chapter 11, by Larraine Nicholas, is a case in point. Although titled “British Modern Dance in the 1940s and 1950s,” the chapter tends to concentrate instead on the careers, geographical movements, performance ventures, and pedagogic activities of its chosen historical subjects (the three emigre dancers Kurt Jooss, Sigurd Leeder, and Rudolf von Laban). Chapter 9, “Katherine Dunham’s Floating Island of Negritude,” is structured similarly, though here with the performer-focus acknowledged in author Ramsay Burt’s title. Burt offers an account of Dunham’s dance training, career, and dance aesthetics, as well as noting the ideological and social contexts within which she worked. The most intriguing of the dancer studies, though, goes beyond the normative prescription. While centered upon the careers of three historical subjects, chapter 8, by Linda J. Tomko, is not entirely biographical. As her title implies, Tomko considers a professional interaction: between “Practitioners and Patrons of New Dance in Progressive-era America.” The argument has at its basis the issue of gender: in particular, the women’s rights movement of the late nineteenth and early twentieth centuries. Recounting U.S. separate spheres ideology, Tomko outlines how the dancers in question—the trio of Fuller, St. Denis, and Duncan mentioned earlier—engaged with female, reform-oriented audiences. Women’s study groups, culture clubs, and societies, she maintains, comprised a core component of the patronage network that supported the dancers, both financially and socially. As well as noting these backstage dealings, though, Tomko considers a more subliminal aspect to the professional engagement. She writes: “In the early twentiethcentury United States, a cluster of women movement practitioners took the opportunity to press for and to fashion dance practices that contested and confirmed current cultural issues” (p. 82). According to Tomko, then, the dancers engaged in topical debate through gestural expression. Dance itself was a vehicle of sociopolitical comment, a medium through which Fuller, St. Denis, and Duncan might reflect on women’s public-sphere activity. This is a seductive hypothesis, appealing not only to those notions, mentioned earlier, of dance as a socially embodied practice, but to broader critical currents— to feminism, feminist theory, and other “identitarian” themes that seem to encourage a dialogic, interdisciplinary critique. What is more, Tomko’s envisaging of dancers as participants in the cultural scene—as “creators and arbiters possessing cultural authority” (p. 90)—lines up neatly wit","PeriodicalId":42382,"journal":{"name":"OPERA QUARTERLY","volume":"22 1","pages":"156-165"},"PeriodicalIF":0.6,"publicationDate":"2006-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/OQ/KBI106","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61513273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Les pêcheurs de perles. Georges Bizet","authors":"Georg Jellinek","doi":"10.1093/OQ/KBI068","DOIUrl":"https://doi.org/10.1093/OQ/KBI068","url":null,"abstract":"","PeriodicalId":42382,"journal":{"name":"OPERA QUARTERLY","volume":"21 1","pages":"772-773"},"PeriodicalIF":0.6,"publicationDate":"2005-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/OQ/KBI068","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61513026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"David A. J. Richards: Tragic Manhood and Democracy: Verdi’s Voice and the Powers of Musical Art","authors":"G. Martin","doi":"10.1093/OQ/KBI073","DOIUrl":"https://doi.org/10.1093/OQ/KBI073","url":null,"abstract":"","PeriodicalId":42382,"journal":{"name":"OPERA QUARTERLY","volume":"21 1","pages":"742-746"},"PeriodicalIF":0.6,"publicationDate":"2005-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/OQ/KBI073","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61513070","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Inner Voice: The Making of a Singer (review)","authors":"W. Albright","doi":"10.1093/OQ/KBI042","DOIUrl":"https://doi.org/10.1093/OQ/KBI042","url":null,"abstract":"","PeriodicalId":42382,"journal":{"name":"OPERA QUARTERLY","volume":"56 1","pages":"525-528"},"PeriodicalIF":0.6,"publicationDate":"2005-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83950157","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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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