Die Opera Buffa und die europäischen Höfe: Künstlernetzwerke und transnationaler Wissenstransfer von Dresden bis Sankt Petersburg (1750-1790). Forschungsprojekt gefördert durch die Fritz Thyssen Stiftung, Projektleitung.
Theatre and opera studies; Early Modern court culture and the public sphere; reception of classical tradition; Early Modern political thought.
Die Opera Buffa und die europäischen Höfe: Künstlernetzwerke und transnationaler Wissenstransfer von Dresden bis Sankt Petersburg (1750-1790)
This project focuses on Italian opera buffa, a dominant mid-eighteenth-century phenomenon, and its place in politics and society as a paradigm for understanding processes of knowledge transfer across Western and Eastern Europe. The aim is twofold: first, to explore the role of opera buffa at the Russian, Austrian imperial, and other German courts as a means of investigating the complex semiotic exchange between absolutist politics and the arts, and this particular dramatic form’s more general impact on aesthetic practices and the emerging European public sphere. Second, to employ opera buffa – a widely disseminated art form that provides rich material for investigation into the cross-cultural circulation of art and into European systems of knowledge transfer – as a case study that permits the close examination of the complex cultural transfer of operatic repertoires, the mobility of artists, and the interaction of different dramatic genres in and among the European courts.
The Opera Buffa project is funded by Fritz Thyssen Stiftung under the supervision of Dr. Tatiana Korneeva at Freie Universität Berlin 2017-2019.
Book Project: The Dramaturgy of the Spectator: Theatre, Audience, and the Public Sphere in Late Seventeenth- and Eighteenth-Century Italy
How did spectators experience theatre at the dawn of modernity? How we can reconstruct, describe, and better understand the theatre audiences of the seventeenth and eighteenth centuries? What dramatic techniques did playwrights develop in response to the horizon of expectations of theatre-goers? How did public response, in turn, influence the production and circulation of dramatic works?How and why did audience members in this period gain visibility in discourse about theatre and become both a force of influence and a force worth influencing? When did audience response begin to rival the judgment of specialists and become the primary arbiter of the quality of theatrical performances? What theories on the role of the spectator were developed in eighteenth-century dramatic and aesthetic criticism?
The aim of this book is to provide compelling answers to these unresolved questions. By defining and delineating the formation and evolution of the Italian theatre public from the mid-Seicento through the late Settecento, this book pioneers a shift in the way we think about the audience as both theoretical concept and historical phenomenon. More specifically, this study investigates and then moves beyond spectatorship per se to explore and analyze its reflexive relationship with social and cultural politics in Italy, especially as they concern sovereignty, power structures, and the emergent public sphere.
Alter et ipse: identità e duplicità nel sistema dei personaggi della Tebaide di Stazio. Pisa: ETS, 2011, 243 pages (review: Anke Walter, Bryn Mawr Classical Review, 03/2013 http://bmcr.brynmawr.edu/2013/2013-03-26.html)
Dramatic Experience: Poetics of Drama and the Public Sphere(s) in Early Modern Europe and Beyond, ed. by Katja Gvozdeva, Tatiana Korneeva, and Kirill Ospovat, Leiden-Boston: Brill, 2016. http://booksandjournals.brillonline.com/content/books/9789004329768.