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This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. This edited collection brings together essays presenting an interdisciplinary dialogue between theatre and performance and the fields of care ethics, care studies, health and social care. The book advances our understanding of performance as a mode of care, challenging existing debates in this area by re-thinking the caring encounter as a performed, embodied experience and interrogating the boundaries between care practice and performance. Through an examination of a wide range of different care performances drawn from interdisciplinary and international settings, the book interrogates how performance might be understood as caring or uncaring, careless or careful, and correlatively how care can be conceptualised as artful, aesthetic, authentic or even 'fake' and 'staged'.
Theater and society --- Drama --- Medical ethics in literature --- Medicine in literature --- Social aspects --- Theatre studies --- Creative therapy (eg art, music, drama) --- Street theatre --- care --- socially engaged performance --- care ethics --- aesthetics of care --- emotional labour --- participatory practices --- embodied care
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This book is both a telling of operatic histories 'after' Richard Wagner, and a philosophical reflection upon the writing of those histories. Historical musicology reckons with intellectual and cultural history, and vice versa. The 'after' of the title denotes chronology, but also harmony and antagonism within a Wagnerian tradition. Parsifal, in which Wagner attempted to go beyond his achievement in the Ring, to write 'after' himself, is followed by two apparent antipodes: the strenuously modernist Arnold Schoenberg and the æstheticist Richard Strauss. Discussion of Strauss's Capriccio, partly in the light of Schoenberg's Moses und Aron, reveals a more 'political' work than either first acquaintance or the composer's 'intention' might suggest.Then come three composers from subsequent generations: Luigi Dallapiccola, Luigi Nono, and Hans Werner Henze. Geographical context is extended to take in Wagner's Italian successors; the problem of political emancipation in and through music drama takes another turn here, confronting challenges and opportunities in more avowedly 'politically engaged' art. A final section explores the world of staging opera, of so-called Regietheater, as initiated by Wagner himself. Stefan Herheim's celebrated Bayreuth production of Parsifal, and various performances of Lohengrin are discussed, before looking back to Mozart (Don Giovanni) and forward to Alban Berg's Lulu and Nono's Al gran sole carico d'amore. Throughout, the book invites us to consider how we might perceive the æsthetic and political integrity of the operatic work 'after Wagner'.After Wagner will be invaluable to anyone interested in twentieth-century music drama and its intersection with politics and cultural history. It will also appeal to those interested in Richard Wagner's cultural impact on succeeding generations of composers. MARK BERRY is Senior Lecturer in Music at Royal Holloway, University of London.
Modernism (Art) --- Arts, Modern --- Wagner, Richard, --- Influence. --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Wagner, Wilhelm Richard, --- Drach, Wilhelm, --- Fājner, Rītshārd, --- Vāgners, Richards, --- Vagner, Rikhard, --- Vagner, R. --- Wagner, R. --- Wagunā, R., --- Vagneri, Rihard, --- Wagner, Riccardo, --- ואגנר, ריכארד, --- ואגנר, ריכרד, --- Al gran sole carico d'amore. --- Alban Berg. --- Arnold Schoenberg. --- Bayreuth production. --- Hans Werner Henze. --- Luigi Dallapiccola. --- Luigi Nono. --- Lulu. --- Mozart. --- Regietheater. --- Richard Strauss. --- Stefan Herheim. --- Wagner's Parsifal. --- Wagnerian tradition. --- aesthetics. --- geographical context. --- music drama. --- opera staging. --- politically engaged art. --- politics. --- Opera
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In Germany, Weimar Classicism (roughly the period from Goethe's return to Germany from Italy in 1788 to the death of his friend and collaborator Schiller in 1805) is widely regarded as an apogee of literary art. But outside of Germany, Goethe is considered a Romantic, and the notion of Weimar Classicism as a distinct period is viewed with skepticism. This volume of new essays regards the question of literary period as a red herring: Weimar Classicism is best understood as a project that involved the ambitious attempt not only to imagine but also to achieve a new quality of wholeness in human life and culture at a time when fragmentation, division, and alienation appeared to be the norm. By not succumbing to the myth of Weimar and its literary giants, but being willing to explore the phenomenon as a complex cultural system with a unique signature, this book provides an account of its shaping beliefs, preoccupations, motifs, and values. Contributions from leading German, British, and North American scholars open up multiple interdisciplinary perspectives on the period. Essays on the novel, poetry, drama, and theater are joined by accounts of politics, philosophy, visual culture, women writers, and science. The reader is introduced to the full panoply of cultural life in Weimar, its accomplishments as well as its excesses and follies. Emancipatory and doctrinaire by turns, the project of Weimar Classicism is best approached as a complex whole. Contributors: Dieter Borchmeyer, Charles Grair, Gail Hart, Thomas Saine, Jane Brown, Cyrus Hamlin, Roger Stephenson, Elisabeth Krimmer, Helmut Pfotenhauer, Benjamin Bennett, Astrida Orle Tantillo, W. Daniel Wilson. Simon J. Richter is associate professor of German at the University of Pennsylvania.
German literature --- History --- 830 <09> --- 830 <09> Duitse literatuur--Geschiedenis van ... --- Duitse literatuur--Geschiedenis van ... --- History and criticism --- Duitse literatuur--Geschiedenis van .. --- Enlightenment --- Influence --- Classicism --- Pseudo-classicism --- Aesthetics --- Literature --- Civilization, Classical --- Civilization, Germanic --- Germanic literature --- Germanic peoples --- Literature, Medieval --- Germanic tribes --- Ethnology --- Indo-Europeans --- Teutonic race --- Germanic civilization --- Teutonic civilization --- Civilization --- Young Germany --- Sturm und Drang movement --- Storm and stress --- History and criticism. --- Influence. --- anno 1300-1399 --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699 --- Duitse literatuur--Geschiedenis van . --- Duitse literatuur--Geschiedenis van --- German literature - Middle High German, 1050-1500 - History and criticism. --- German literature - Early modern, 1500-1700 - History and criticism. --- Sturm und Drang movement. --- British literature. --- German literature. --- Goethe. --- North American literature. --- Romantic. --- Weimar Classicism. --- accomplishments. --- alienation. --- complex cultural system. --- cultural life. --- culture. --- division. --- drama. --- excesses. --- follies. --- fragmentation. --- human life. --- literary period. --- motifs. --- novel. --- philosophy. --- poetry. --- politics. --- preoccupations. --- science. --- shaping beliefs. --- theater. --- values. --- visual culture. --- women writers. --- Charms. --- Chronicles. --- Early Middle Ages. --- German Literature. --- Heroic Material. --- Hildebrandlied. --- Latin Influence. --- Literary Language. --- Ludwigslied. --- Manuscript Culture. --- Old High German Literature. --- Otfrid's Gospel-Poem. --- Prayers. --- Translations. --- Clayton Koelb. --- Drama. --- Eric Downing. --- Impressionism. --- Lyric Poetry. --- Music-Drama. --- Naturalism. --- Nineteenth-Century German Literature. --- Poetic Realism. --- Prose Fiction. --- Romanticism. --- Social and Political Context. --- Symbolism.
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