The Dramaturgy of the Spectator explores how Italian theatre consciously adjusted to the emergence of a new kind of spectator who became central to society, politics, and culture in the mid-seventeenth and eighteenth centuries. The author argues that while a focus on spectatorship in isolation has value, if we are to understand the broader stakes of the relationship between the power structures and the public sphere as it was then emerging, we must trace step-by-step how spectatorship as a practice was rooted in the social and cultural politics of Italy at the time. By delineating the evolution of the Italian theatre public, as well as the dramatic innovations and communicative techniques developed in an attempt to manipulate the relationship between spectator and performance, this book pioneers a shift in our understanding of audience as both theoretical concept and historical phenomenon.
In the 18th century Italian theatre and its artists became vital to Russian rulers, who employed Italian musico-dramatic works to advance their political agendas and emphasize Russia’s cultural uniqueness and its cosmopolitan character. Innumerable playwrights and composers, actors and singers were active at the Russian court. Usually considered at best peripheral to Europe, the faraway Russian Empire represents a particularly powerful example of the mobility of theatre agents and the circulation of artistic practices. This book sets a new regional accent on imperial Russia, thus mitigating the traditional historiographical emphasis on Western Europe, and adopts a transnational approach to theatre and music history. Its aim is twofold. First, to explore Italian music-theatrical repertoires that occupied a crucial position within the spectacle of absolutism in Russia. Second, to investigate careers and travel routes of the Italian theatre professionals. The examination of their activities at the Russian court aims not only to provide a fuller understanding of their vital role in the transmission of socio-political and artistic ideas, but also to more firmly situate Russia in the broader arena of European cultural production.
In Dramatic Experience: The Poetics of Drama and the Early Modern Public Sphere(s) Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat (eds.) focus on a fundamental question that transcends the disciplinary boundaries of theatre studies: how and to what extent did the convergence of dramatic theory, theatrical practice, and various modes of audience experience — among both theatregoers and readers of drama — contribute, during the sixteenth to eighteenth centuries, to the emergence of symbolic, social, and cultural space(s) we call ‘public sphere(s)’? Developing a post-Habermasian understanding of the public sphere, the articles in this collection demonstrate that related, if diverging, conceptions of the ‘public’ existed in a variety of forms, locations, and cultures across early modern Europe — and in Asia.
Written by the prominent Russian expert in the field of deafblind education, Tatiana Basilova, this book overviews the history of teaching deafblind students in Russia in one of the country's most dramatic eras, the 20th century. The material presents the biographies of three famous Russian scholars and investigates their experience of working with deafblind people since the beginning of the 20th century. In addition to this, the current state of deafblind education and the history of changes in deafblind organizations are examined. Further, Basilova discusses teaching methods that may be useful for specialists in the future. In her work, she uses unique data from personal archives of Russian specialists which are published in English for the first time.
In the 18th century Italian theatre and its artists became vital to Russian rulers, who employed Italian musico-dramatic works to advance their political agendas and emphasize Russia’s cultural uniqueness and its cosmopolitan character. Innumerable playwrights and composers, actors and singers were active at the Russian court. Usually considered at best peripheral to Europe, the faraway Russian Empire represents a particularly powerful example of the mobility of theatre agents and the circulation of artistic practices. This book sets a new regional accent on imperial Russia, thus mitigating the traditional historiographical emphasis on Western Europe, and adopts a transnational approach to theatre and music history. Its aim is twofold. First, to explore Italian music-theatrical repertoires that occupied a crucial position within the spectacle of absolutism in Russia. Second, to investigate careers and travel routes of the Italian theatre professionals. The examination of their activities at the Russian court aims not only to provide a fuller understanding of their vital role in the transmission of socio-political and artistic ideas, but also to more firmly situate Russia in the broader arena of European cultural production.
The Dramaturgy of the Spectator explores how Italian theatre consciously adjusted to the emergence of a new kind of spectator who became central to society, politics, and culture in the mid-seventeenth and eighteenth centuries. The author argues that while a focus on spectatorship in isolation has value, if we are to understand the broader stakes of the relationship between the power structures and the public sphere as it was then emerging, we must trace step-by-step how spectatorship as a practice was rooted in the social and cultural politics of Italy at the time. By delineating the evolution of the Italian theatre public, as well as the dramatic innovations and communicative techniques developed in an attempt to manipulate the relationship between spectator and performance, this book pioneers a shift in our understanding of audience as both theoretical concept and historical phenomenon.
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