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Organisation of International Conferences by isabelle moindrot
, in partnership with the Opéra de Paris, the INHA, the BnF, the Musée du Louvre, the Opéra-Comiq... more , in partnership with the Opéra de Paris, the INHA, the BnF, the Musée du Louvre, the Opéra-Comique, the IUF. 70 lectures and talks. 250 participants. https://www.toscatparis2019.com/ Invited Keynotes, Talks and Seminars 22 invited keynotes in France and abroad. Internationally: 11 talks, 6 classes and other presentations, 1 chair, 1 honorary award, 1 research trip. In France: 39 talks, 36 other invited talks in conferences and theatres.
Thèse de doctorat en Études théâtrales, Mention très honorable à l'unanimité. La Représentation d... more Thèse de doctorat en Études théâtrales, Mention très honorable à l'unanimité. La Représentation d'opéra. Poétique et Dramaturgie. Université Paris 3 Sorbonne Nouvelle, sous la direction d'Anne Ubersfeld. 1987-1989 Contrat doctoral « Ancien Normalien Doctorant ». 1984 Agrégation de Lettres modernes. 1982-1987 Élève-fonctionnaire-stagiaire à l'École Normale Supérieure. Stages à l'Opéra de Paris (1984), à la Monnaie de Bruxelles (1985), au Festival de Glyndebourne (1985), au Metropolitan Opera de New York (1986). 1979-1982 Classes préparatoires au Lycée Louis-le-Grand (Paris). 1971-1979 Études musicales au Conservatoire National de Région de Saint-Maur (94). Diplômes de fin d'études (1977), de perfectionnement (1978), Accessit (1979).
https://www.toscatparis2019.com/ The third edition of the tosc@ conference took place in Paris, ... more https://www.toscatparis2019.com/
The third edition of the tosc@ conference took place in Paris, France, from June 27 to June 29, 2019, on the occasion of the 350th anniversary of the Opéra de Paris.
Founded in Bologna in 2015, tosc@ is a biennial meeting designed to give scholars, artists and opera lovers from different countries the opportunity to come together. Open to all approaches, forms, genres and periods, the tosc@ conference aims to unite the excellence and boldness of contemporary research on opera and musical theatre in general. It moves from place to place, encouraging the presence of contributors from the host countries, enlarging the circle of its participants and promoting encounters between cultures and sensibilities.
Following the success of the first two meetings (tosc@bologna.2015 and tosc@bern.2017), tosc@paris.2019 was organized by the University of Paris 8, and hosted at the Opéra de Paris, the Institut national d’histoire de l’art and the Musée du Louvre, partners of tosc@paris.2019 along with the University Paris Nanterre and the Bibliothèque nationale de France. The conference also benefited from the participation of the Opéra-Comique and of the Centre Pompidou-Metz, and from the support of the Ministère de la Culture, the Institut Universitaire de France, the University of Chicago, and Oberlin College and Conservatory.
tosc@paris.2019 encouraged fertile exchanges between researchers, artists, spectators, theatre professionals and other players of the operatic stage who contribute to its influence and success. It also represented an opportunity to celebrate the 350th anniversary of the Opéra de Paris as special moments were dedicated to the Opéra de Paris and its history.
The Programme Committee received a very large number of submissions: 248 abstracts from 35 countries (including 21 submitted as part of 6 panel proposals), plus 5 roundtables. Following the anonymous evaluation process, there were 20 sessions with 51 papers, 5 roundtables, the tosc@ Award Winner’s Address by James O'Leary with a staging by Mirabelle Ordinaire, and two keynote addresses.
The keynote addresses were given by Susanna Mälkki (Helsinki Philharmonic Orchestra) and Martha Feldman (The University of Chicago).
We are very grateful to our partners (the Opéra de Paris, the Institut national d’histoire de l’art, the Musée du Louvre, the Opéra-Comique, the Bibliothèque nationale, the Centre Pompidou Metz) which agreed to work closely with us, hosting the event and providing us with invaluable support as well as generously sharing with us their expertise, their time and creativity.
Conference Organizers: Céline Frigau Manning and Isabelle Moindrot
Contact: paristosc@gmail.com
Programme Committee: Joy H. Calico (Vanderbilt University), Georgia Cowart (Case Western Reserve University), Céline Frigau Manning (Université Paris 8 - Institut Universitaire de France), Sarah Hibberd (University of Bristol), Kordula Knaus (Universität Bayreuth), Hervé Lacombe (Université Rennes 2), Isabelle Moindrot (Université Paris 8), and Emanuele Senici (Sapienza Università di Roma).
Books by isabelle moindrot
Emerging out of my PhD dissertation in 1989, this book was the first synthetic publication on the... more Emerging out of my PhD dissertation in 1989, this book was the first synthetic publication on the staging of contemporary opera. Taking a contrary stance to approaches focused on taste, immediate impressions, canons or traditions, this study proposes a theoretical reflection and series of analyses in order to consider, to describe and to understand the peculiar art object that is opera staging. On the basis of the concepts of compatibility, incompatibility, convergence, pre-convergence, substitution..., and across a wide variety of examples, a "Little Rhetoric" helps to distinguish formal codes, conventions of interpretation, poetic effects and dramaturgical discourses. Three major chapters come to test this analytic method, tackling the staging of operatic works with internal workings which are very different from each other: Mozart’s four opere serie (which were then being reinterpreted on theatrical stages, in all their richness and baroque artifice), Debussy’s Pelléas et Mélisande, whose disturbing simplicity hides deep psychic chasms, and finally Berg’s Lulu, which offers yet more combinations of coexistence between the different arts of representation, between form and movement, sound and the visible, image and identity. By a wide array of examples, the study thus demonstrates the full scope of the aims of opera staging, whose performative function cannot be limited to that of a mere haven for music or framework for dramaturgy.
CNRS Editions, 2006
This book was preceded by a conference organized at the Université de Tours in 2003, in partnersh... more This book was preceded by a conference organized at the Université de Tours in 2003, in partnership with the Centre Dramatique Régional, the Opéra and the Centre Chorégraphique National de Tours – a conference conceived from the outset in order to later produce a coherent work, which was to be as complete as possible, and which was to mark a turning-point in research on 19th-century spectacularity. The book features thirty articles covering dramatic theory, the history of staging, dramaturgy, cultural history and aesthetics. The aim of the book was to trace the major currents of spectacular theatricality, beyond distinctions of genre and hierarchy, as they developed in the 19th century in the fields of theatre, opera, dance, pantomime, and pre-cinema, from the spectacles of the grands opéras of Romantic theatres to the transgressive and synthetic productions of the century’s end (at the Chat noir or the Ballets russes, for instance). By this broad multidisciplinary approach, which at the time of publication was highly innovative in French theatre studies, it was possible to study both the means (technical devices, management practices), the causes (works and their aesthetics), effects (emotions) and theories (discourses), at the origin of spectacular illusions, revealing a collective quest for bedazzlement and innovation, whereas historiography had long remained limited to irreducible dualisms (progress/reaction, art/industry, ideal/matter, truth/illusion, bourgeois/artist, nature/artifice...). The book thus delivers some keys to understanding the lasting clichés that will remain present in critical thinking on the theatre until the end of the 20th century.
Endowed with an important critical apparatus and richly illustrated by an original iconography, made efficient by the in-4° format and the use of color, this book became an important reference for the study of 19th-century spectacular forms. TITLE
"Introduction", L’Altérité en spectacle 1789-1918, Presses universitaires Rennes, coll. « Le spectaculaire »., 2015
Since the decisive turning-point created by postcolonial studies and recent work in anthropology,... more Since the decisive turning-point created by postcolonial studies and recent work in anthropology, epistemology, and the archeology of medias which questions the qualities of the human, figures of otherness haunt the humanities and social sciences. Going deeper into the research into the contemporary metamorphoses of the human begun in Transhumanités. Fictions, formes et usages de l’humain dans les arts contemporains (Moindrot and Shin, 2012), and seeking to appreciate the role played by the performing arts in the creation of otherness, this book combines the history of theatre with scientific, political, artistic and media contexts that elaborated and legitimized images of otherness. Representative of an era in which the dynamics of objectification, classification and human hierarchisation set in motion at the end of the 18th century have been intensifying, the figures of otherness that are captured by performances of the time will have a profound and lasting impact, to such a point that their mark is still visible today. To understand this situation, it was not enough to study merely several emblematic forms. It was rather necessary to connect them together in order to observe the systems of spectacular production – from the creation of forms and fictions, to their reception and use. Such a project could only be achieved by bringing together many specialties (history, cultural studies, history of science, anthropology, political science, literature, theatre, musicology, cinema, the archeology of media) and by combining several approaches (university research, archives and conservation, production and dissemination). The purpose was not to display a gallery of alterities (the Savage, the Black, the Jew, the Arab, the Boche, the Rastaquouère, the Homosexual, the Deaf-Mute, the Nymphomaniac, the Abnormal, the Poor...) in order to study types and representations, but rather to observe the processes by which these alterities were forged, exploited, and sometimes counteracted, by the intermediary of spectacularization. For among the devices by which the Other is created, which may have manifested themselves in the theoretical or legal domain, in medical practice, or in the social habitus, spectacularization constitutes an exemplary case. The Other is here presented in a material context that both distinguishes and enhances it. Alone or in a group, fixed in time immemorial or confronted with history, exhibited as a phenomenon or in its supposedly original milieu, evolving in humble or in sumptuous décors or even reconstructed villages, playing its own role or embodied by actors, dressed in authentic clothes or stage costumes, provided with real objects or manufactured accessories, being passive or active, mute or gifted with speech (in "its own language" or in a sabir) ..., this object of fascination, of repulsion, mockery, experimentation, knowledge, and dreams, is forged by the spectacle, and is not only a complex figure but an extremely elaborate cultural configuration. Starting from the farthest point in order to come back to the nearest ("The savage and its avatars", "The stranger", "The other among us", "Materials, transfers, mediations"), the book shows how the modern spectacular machine relayed and naturalized the dynamics of exclusion and integration of Western societies, sowing the seeds of current controversies over cultural appropriation.
Papers by isabelle moindrot
1895. Mille huit cent quatre-vingt-quinze, 2007
Dans l'histoire de la mise en scène, Le Prophète marque un seuil, celui de la première utilisatio... more Dans l'histoire de la mise en scène, Le Prophète marque un seuil, celui de la première utilisation de l'électricité au théâtre -et c'est à ce titre qu'il est souvent cité. Avec cet opéra dont le dispositif lumineux utilisé au troisième acte, pour représenter le lever du soleil, avait ébloui les spectateurs par son éclat et son réalisme, un pas supplémentaire est franchi sur le chemin de la représentation moderne. Un demi-siècle plus tard, la plupart des grands théâtres seront équipés de projecteurs électriques, et l'ensemble du langage spectaculaire s'en verra progressivement transformé.
, in partnership with the Opéra de Paris, the INHA, the BnF, the Musée du Louvre, the Opéra-Comiq... more , in partnership with the Opéra de Paris, the INHA, the BnF, the Musée du Louvre, the Opéra-Comique, the IUF. 70 lectures and talks. 250 participants. https://www.toscatparis2019.com/ Invited Keynotes, Talks and Seminars 22 invited keynotes in France and abroad. Internationally: 11 talks, 6 classes and other presentations, 1 chair, 1 honorary award, 1 research trip. In France: 39 talks, 36 other invited talks in conferences and theatres.
Thèse de doctorat en Études théâtrales, Mention très honorable à l'unanimité. La Représentation d... more Thèse de doctorat en Études théâtrales, Mention très honorable à l'unanimité. La Représentation d'opéra. Poétique et Dramaturgie. Université Paris 3 Sorbonne Nouvelle, sous la direction d'Anne Ubersfeld. 1987-1989 Contrat doctoral « Ancien Normalien Doctorant ». 1984 Agrégation de Lettres modernes. 1982-1987 Élève-fonctionnaire-stagiaire à l'École Normale Supérieure. Stages à l'Opéra de Paris (1984), à la Monnaie de Bruxelles (1985), au Festival de Glyndebourne (1985), au Metropolitan Opera de New York (1986). 1979-1982 Classes préparatoires au Lycée Louis-le-Grand (Paris). 1971-1979 Études musicales au Conservatoire National de Région de Saint-Maur (94). Diplômes de fin d'études (1977), de perfectionnement (1978), Accessit (1979).
https://www.toscatparis2019.com/ The third edition of the tosc@ conference took place in Paris, ... more https://www.toscatparis2019.com/
The third edition of the tosc@ conference took place in Paris, France, from June 27 to June 29, 2019, on the occasion of the 350th anniversary of the Opéra de Paris.
Founded in Bologna in 2015, tosc@ is a biennial meeting designed to give scholars, artists and opera lovers from different countries the opportunity to come together. Open to all approaches, forms, genres and periods, the tosc@ conference aims to unite the excellence and boldness of contemporary research on opera and musical theatre in general. It moves from place to place, encouraging the presence of contributors from the host countries, enlarging the circle of its participants and promoting encounters between cultures and sensibilities.
Following the success of the first two meetings (tosc@bologna.2015 and tosc@bern.2017), tosc@paris.2019 was organized by the University of Paris 8, and hosted at the Opéra de Paris, the Institut national d’histoire de l’art and the Musée du Louvre, partners of tosc@paris.2019 along with the University Paris Nanterre and the Bibliothèque nationale de France. The conference also benefited from the participation of the Opéra-Comique and of the Centre Pompidou-Metz, and from the support of the Ministère de la Culture, the Institut Universitaire de France, the University of Chicago, and Oberlin College and Conservatory.
tosc@paris.2019 encouraged fertile exchanges between researchers, artists, spectators, theatre professionals and other players of the operatic stage who contribute to its influence and success. It also represented an opportunity to celebrate the 350th anniversary of the Opéra de Paris as special moments were dedicated to the Opéra de Paris and its history.
The Programme Committee received a very large number of submissions: 248 abstracts from 35 countries (including 21 submitted as part of 6 panel proposals), plus 5 roundtables. Following the anonymous evaluation process, there were 20 sessions with 51 papers, 5 roundtables, the tosc@ Award Winner’s Address by James O'Leary with a staging by Mirabelle Ordinaire, and two keynote addresses.
The keynote addresses were given by Susanna Mälkki (Helsinki Philharmonic Orchestra) and Martha Feldman (The University of Chicago).
We are very grateful to our partners (the Opéra de Paris, the Institut national d’histoire de l’art, the Musée du Louvre, the Opéra-Comique, the Bibliothèque nationale, the Centre Pompidou Metz) which agreed to work closely with us, hosting the event and providing us with invaluable support as well as generously sharing with us their expertise, their time and creativity.
Conference Organizers: Céline Frigau Manning and Isabelle Moindrot
Contact: paristosc@gmail.com
Programme Committee: Joy H. Calico (Vanderbilt University), Georgia Cowart (Case Western Reserve University), Céline Frigau Manning (Université Paris 8 - Institut Universitaire de France), Sarah Hibberd (University of Bristol), Kordula Knaus (Universität Bayreuth), Hervé Lacombe (Université Rennes 2), Isabelle Moindrot (Université Paris 8), and Emanuele Senici (Sapienza Università di Roma).
Emerging out of my PhD dissertation in 1989, this book was the first synthetic publication on the... more Emerging out of my PhD dissertation in 1989, this book was the first synthetic publication on the staging of contemporary opera. Taking a contrary stance to approaches focused on taste, immediate impressions, canons or traditions, this study proposes a theoretical reflection and series of analyses in order to consider, to describe and to understand the peculiar art object that is opera staging. On the basis of the concepts of compatibility, incompatibility, convergence, pre-convergence, substitution..., and across a wide variety of examples, a "Little Rhetoric" helps to distinguish formal codes, conventions of interpretation, poetic effects and dramaturgical discourses. Three major chapters come to test this analytic method, tackling the staging of operatic works with internal workings which are very different from each other: Mozart’s four opere serie (which were then being reinterpreted on theatrical stages, in all their richness and baroque artifice), Debussy’s Pelléas et Mélisande, whose disturbing simplicity hides deep psychic chasms, and finally Berg’s Lulu, which offers yet more combinations of coexistence between the different arts of representation, between form and movement, sound and the visible, image and identity. By a wide array of examples, the study thus demonstrates the full scope of the aims of opera staging, whose performative function cannot be limited to that of a mere haven for music or framework for dramaturgy.
CNRS Editions, 2006
This book was preceded by a conference organized at the Université de Tours in 2003, in partnersh... more This book was preceded by a conference organized at the Université de Tours in 2003, in partnership with the Centre Dramatique Régional, the Opéra and the Centre Chorégraphique National de Tours – a conference conceived from the outset in order to later produce a coherent work, which was to be as complete as possible, and which was to mark a turning-point in research on 19th-century spectacularity. The book features thirty articles covering dramatic theory, the history of staging, dramaturgy, cultural history and aesthetics. The aim of the book was to trace the major currents of spectacular theatricality, beyond distinctions of genre and hierarchy, as they developed in the 19th century in the fields of theatre, opera, dance, pantomime, and pre-cinema, from the spectacles of the grands opéras of Romantic theatres to the transgressive and synthetic productions of the century’s end (at the Chat noir or the Ballets russes, for instance). By this broad multidisciplinary approach, which at the time of publication was highly innovative in French theatre studies, it was possible to study both the means (technical devices, management practices), the causes (works and their aesthetics), effects (emotions) and theories (discourses), at the origin of spectacular illusions, revealing a collective quest for bedazzlement and innovation, whereas historiography had long remained limited to irreducible dualisms (progress/reaction, art/industry, ideal/matter, truth/illusion, bourgeois/artist, nature/artifice...). The book thus delivers some keys to understanding the lasting clichés that will remain present in critical thinking on the theatre until the end of the 20th century.
Endowed with an important critical apparatus and richly illustrated by an original iconography, made efficient by the in-4° format and the use of color, this book became an important reference for the study of 19th-century spectacular forms. TITLE
"Introduction", L’Altérité en spectacle 1789-1918, Presses universitaires Rennes, coll. « Le spectaculaire »., 2015
Since the decisive turning-point created by postcolonial studies and recent work in anthropology,... more Since the decisive turning-point created by postcolonial studies and recent work in anthropology, epistemology, and the archeology of medias which questions the qualities of the human, figures of otherness haunt the humanities and social sciences. Going deeper into the research into the contemporary metamorphoses of the human begun in Transhumanités. Fictions, formes et usages de l’humain dans les arts contemporains (Moindrot and Shin, 2012), and seeking to appreciate the role played by the performing arts in the creation of otherness, this book combines the history of theatre with scientific, political, artistic and media contexts that elaborated and legitimized images of otherness. Representative of an era in which the dynamics of objectification, classification and human hierarchisation set in motion at the end of the 18th century have been intensifying, the figures of otherness that are captured by performances of the time will have a profound and lasting impact, to such a point that their mark is still visible today. To understand this situation, it was not enough to study merely several emblematic forms. It was rather necessary to connect them together in order to observe the systems of spectacular production – from the creation of forms and fictions, to their reception and use. Such a project could only be achieved by bringing together many specialties (history, cultural studies, history of science, anthropology, political science, literature, theatre, musicology, cinema, the archeology of media) and by combining several approaches (university research, archives and conservation, production and dissemination). The purpose was not to display a gallery of alterities (the Savage, the Black, the Jew, the Arab, the Boche, the Rastaquouère, the Homosexual, the Deaf-Mute, the Nymphomaniac, the Abnormal, the Poor...) in order to study types and representations, but rather to observe the processes by which these alterities were forged, exploited, and sometimes counteracted, by the intermediary of spectacularization. For among the devices by which the Other is created, which may have manifested themselves in the theoretical or legal domain, in medical practice, or in the social habitus, spectacularization constitutes an exemplary case. The Other is here presented in a material context that both distinguishes and enhances it. Alone or in a group, fixed in time immemorial or confronted with history, exhibited as a phenomenon or in its supposedly original milieu, evolving in humble or in sumptuous décors or even reconstructed villages, playing its own role or embodied by actors, dressed in authentic clothes or stage costumes, provided with real objects or manufactured accessories, being passive or active, mute or gifted with speech (in "its own language" or in a sabir) ..., this object of fascination, of repulsion, mockery, experimentation, knowledge, and dreams, is forged by the spectacle, and is not only a complex figure but an extremely elaborate cultural configuration. Starting from the farthest point in order to come back to the nearest ("The savage and its avatars", "The stranger", "The other among us", "Materials, transfers, mediations"), the book shows how the modern spectacular machine relayed and naturalized the dynamics of exclusion and integration of Western societies, sowing the seeds of current controversies over cultural appropriation.
1895. Mille huit cent quatre-vingt-quinze, 2007
Dans l'histoire de la mise en scène, Le Prophète marque un seuil, celui de la première utilisatio... more Dans l'histoire de la mise en scène, Le Prophète marque un seuil, celui de la première utilisation de l'électricité au théâtre -et c'est à ce titre qu'il est souvent cité. Avec cet opéra dont le dispositif lumineux utilisé au troisième acte, pour représenter le lever du soleil, avait ébloui les spectateurs par son éclat et son réalisme, un pas supplémentaire est franchi sur le chemin de la représentation moderne. Un demi-siècle plus tard, la plupart des grands théâtres seront équipés de projecteurs électriques, et l'ensemble du langage spectaculaire s'en verra progressivement transformé.
![Research paper thumbnail of Isabelle Moindrot, “Tamerlan: a ‘Turkish’ opera by Peter von Winter for the Paris Opera (1802)”, in M. Hüttler / H. E. Weidinger (eds.), Ottoman Empire and European Theatre II. The time of Joseph Haydn: from Sultan Mahmud I to Mahmud II [r. 1730-1839], Wien, Hollitzer, 2014, p. 521-536.](https://attachments.academia-assets.com/63561020/thumbnails/1.jpg)
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Taking as its guiding light Roland Barthes’s Mythologies, this article, written in the wake of a ... more Taking as its guiding light Roland Barthes’s Mythologies, this article, written in the wake of a conference at Columbia University, describes the way French theatre of the 19th century, as a literary and scenic expression but also as a cultural industry, constructed and disseminated the archetype of the "diva" – a synthesis of art, technology, and imaginary projections – whose impact has been reflected in the real in both performers’ lived conditions and the behavior of audiences.
Using a variety of very different examples, drawn from comedy, vaudeville, opéra-comique, opera, operetta, and other popular hybrid forms of the time that feature diva characters, the article highlights recurrent themes, which document a condition, corroborated by cultural history, and develops the hypothesis that the main device which will convert the female singer into a “diva” is the theatrical enterprise itself, which produces, reproduces and broadcasts ad hoc images of the female theatrical artist, converting her into a character observed during the very performance of her art.
Thèse de doctorat en Études théâtrales, Mention très honorable à l'unanimité. La Représentation d... more Thèse de doctorat en Études théâtrales, Mention très honorable à l'unanimité. La Représentation d'opéra. Poétique et Dramaturgie. Université Paris 3 Sorbonne Nouvelle, sous la direction d'Anne Ubersfeld. 1987-1989 Contrat doctoral « Ancien Normalien Doctorant ». 1984 Agrégation de Lettres modernes. 1982-1987 Élève-fonctionnaire-stagiaire à l'École Normale Supérieure. Stages à l'Opéra de Paris (1984), à la Monnaie de Bruxelles (1985), au Festival de Glyndebourne (1985), au Metropolitan Opera de New York (1986). 1979-1982 Classes préparatoires au Lycée Louis-le-Grand (Paris). 1971-1979 Études musicales au Conservatoire National de Région de Saint-Maur (94). Diplômes de fin d'études (1977), de perfectionnement (1978), Accessit (1979).