Interview: Teatro Inverso (original) (raw)
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Theatre Survey 51:2 (November 2010) # American Society for Theatre Research 2010
Italian prima donna Francesca Cuzzoni (ca. 1698-1770) was the first internationally recognized virtuosa to sing high soprano women's roles. Although her work served as a model to the female performers who followed, no in-depth critical study has been written about her groundbreaking career on the opera stage of the Royal Academy of Music in London, where she was the celebrated prima donna from 1723 to 1728. During her tenure, the Royal Academy became one of the most important opera companies in Europe, rivaling those of the Viennese court, the Paris Opera, and the Italian opera houses of Naples and Venice. Her arrival on the London stage signaled a shift in the ways composers set roles in relationship to vocal categories and gender. In particular, Cuzzoni's superior virtuosic vocal abilities influenced and inspired German George Friedrich Handel's (1685-1759) compositional style and his musical treatment of dramatic elements. Cuzzoni's 1723 London debut as Teofane in his Ottone caused a sensation, establishing her professional reputation "as the greatest soprano England had ever heard." 1 Upon her successful debut, she was offered a contract for the next two seasons. Cuzzoni's triumph boosted the theatre's prestige, enabling its managers to steeply raise ticket prices by her second performance. 2 Eyewitness accounts of Cuzzoni's performances and descriptions of her voice attest to her artistry. One audience member named Mrs. Pendarve remarked after hearing her in Handel's Alessandro (1726) that "my senses were ravished with harmony." 3 Claudia Rene Wier is a lyric soprano who sang professionally for seven years with the City Opera Theatre in Regensburg, Germany. In 2008 she completed an internship, with certification, in opera pedagogy at the Unter den Linden opera outreach program in Berlin, Germany, funded by the Deutscher Akademischer Austausch Dienst. She holds an M.A. in Theatre, an M.M. in vocal performance, and an M.F.A. in Drama/Theatre for the Young. She is currently an adjunct lecturer for voice and articulation and for a course in drama and play in human experience at Eastern Michigan University in the Communications, Media & Theatre Arts Department. She also teaches private singing lessons and directs the Drama Club at Slauson Middle School in Ann Arbor, Michigan.
Studies in 20th & 21st Century Literature, 2008
The final chapter of Miguel Rubio Zapata's El cuerpo ausente (performance político) ' Absent body (political performance)' begins with an epigraph from Antonin Artaud, at first glance a very unexpected inspiration for a group famed for its politically-charged performances...
Staging Lives in Latin American Theater
2021
This book was made possible through the generosity and collaboration of numerous scholars, institutions, and friends, to whom I am indebted and deeply grateful. The University of Wisconsin-Madison provided the leave time and funds to concentrate on my research. The UW-Madison Institute for Research in the Humanities and its director Susan Friedman invited me to participate in a semester-long scholarly residency. The Vilas Associate Fund at UW-Madison funded the field research and two years of summer support necessary to complete this project as well as the Summer Humanities Research Fellow program (2018) directed by Steven Nadler, through which parts of the book were workshopped by theater scholars Jean Graham-Jones, Brenda Werth, Sarah Misemer, Ana Puga, and Mary Trotter. I am honored to have worked with all of you. Because I believe in collaborative work and feedback, I know that this book could not have been produced without engaging dialogue with colleagues and friends in the field and beyond. At the University of Wisconsin, my colleagues Mercedes Alcalá-Galán and Steven Hutchinson have participated in long conversations about theater and art over wonderful dinners that continued late into the evening. Many thanks to Rubén Medina, Luís Madureira, and Guillermina De Ferrari for being great colleagues with insightful comments; to Laurie Beth Clark and Michael Peterson for teaching me about generosity; and to Falina Enriquez and Jill Casid for always engaging with my work. I am grateful to all of you for providing me with constant support and intellectual conversations. A special mention goes to my friend and colleague Marcelo Pellegrini for always believing in my book and everything related to theater. I am also thankful to the many graduate students who have shared their thoughts and ideas in seminars and have traveled to Chicago with me to see plays, especially
TDR/The Drama Review, 2011
Matters: Theatres in the Second Part of the 20th Century) by Valentina Valentini, represents a breakthrough in theatre studies and performance theory outside of the Anglo-Saxon world. Its publication in Italy can be compared to the innovative works of Patrice Pavis (Languages of the Stage, 1982), Marco de Marinis (Capire il teatro [To Understand Theatre], 1988), and Hans-Thies Lehmann (The Postdramatic Theatre, 1999), which each introduced a major change in European theatre studies. A renowned Italian theatre scholar and professor at La Sapienza University in Rome, Valentini modestly claims that her book is meant as a textbook for teachers and students of theatre and performance practice and theory. However, it is also accessible to nonspecialists, who might be unfamiliar with the "archaeology" of contemporary performing arts and their main aspects: its 200 pages are very well equipped with numerous footnotes, titles, and sources, and richly illustrated with photographs from various historical and contemporary performances. Some of these represent memorable moments in the history of theatre and performance, while others serve to illustrate the main hypothesis: the complex relations between different performance and artistic practices can only be examined and analyzed from a contemporary philosophical perspective which, in turn, can contribute to the development of the field of theatre studies. References
Johns Hopkins University Press, 2021
A Note from the Editor: Essentials John Fletcher Theatre Topics, Volume 31, Number 2, July 2021, pp. ix-xii (Article) Published by Johns Hopkins University Press A Note from the Editor: Essentials As those readers who saw the original call for papers know, my initial plans for a 2021 special issue centered on the notion of intimacy. I imagined a slate of pieces about intimacy choreography on stage and screen, intimacy awareness in theatre classrooms, and intimate ruminations about the ever-fascinating transactions between performers and audiences, between dramatic events and the places that house them, and between projects that speak to and with one another across time and space. That was in March 2020. Essentials in Three Acts: Collaboration, Care, Time by Shawn Chua, Sozita Goudouna, Adham Hafez, Eero Laine, Sarah Lucie, Juliana Moraes, Malin Palani, Rumen Rachev, and Leah Sidi The following is not an article. Nor is it a play, despite its structure. To some extent, it is a performance and an experiment. It was written collaboratively over a three-month period by a group of performance-makers and performance scholars in response to the difficulties of writing and studying during the pandemic. Following a cancelled international conference, we wrote from five different continents in moments of crisis shaped by personal, political, and geographical particulari- ties. Meeting over Zoom, we shared our fears for our industries, our communities, and our personal griefs. We also sought to think together in response to Theatre Topics’ call for articles on “Theatre Essentials.” Prior to this work, many of us did not know one another, although some had worked together through other projects and academic gatherings. The call to consider the essentials of the- atre has opened possibilities for us to examine what remains of theatre and our own work, as well as how a discipline and field might coalesce when gathering in person is considered a dangerous act.