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.
Mapping Italian Theatre. Knowledge Transfer and Artistic Networks, 1600-1800
Freie Universität Berlin, April 11-12, 2019
Convened by Tatiana Korneeva
Italian theatre of the seventeenth and eighteenth century was a truly European phenomenon, firstly because of the wide and enduring popularity of the commedia dell’arte throughout Europe, and, at a later stage, of Goldoni’s reformed comedies and the Italian opera. Secondly, because of its actors and musicians who actively contributed to the circulation of ideas and cultural artefacts across geographical boarders. Italian theatre was thus a true Erasmus programme of the early modernity, as many celebrated playwrights, actors, impresarios, composers, librettists and stage designers (including Metastasio, Senesino, Angelo and Pietro Mingotti, Antonio Sacco, Tommaso Traetta, Giovanni Paisiello, Giuseppe Sarti, and Pietro Gonzaga) travelled across Europe and were employed at the courts of Paris, Vienna, Dresden, Warsaw, Prague, Copenhagen, and Saint Petersburg. Using Italian language instead of English, these and other Italian-born artists pioneered a concept of Europe when Europe did not yet exist. If Europe is brought into being by the mobility of people and the circulation of ideas through theatre performances, investigating the international careers of artists and the circulation of dramatic repertoires does not only mean to investigate the reception of Italian theatre but the cultural formation of Europe on a whole.
This conference addresses some of the key issues in the history of Italian theatre and opera, such as the transmission and reception of the Italian dramatic genres outside of Italy and their adaptation to local cultures and tastes; the mobility and the routes of travel of Italian theatre professionals and entrepreneurs; the world of theatre in the correspondences and autobiographies as important sources for the reconstruction of careers and networks of singers, operisti, actors and impresarios; the impact of the artists involved in the production of performing arts on the European cultural heritage, and their complex cultural exchanges.
This broad variety of topics will be addressed with an eye for a truly transnational discourse and a balanced treatment of Italian theatre in a global performance history, while also trying to develop new terms and theoretical frameworks to address the issues of knowledge and cultural transfer.
Confirmed speakers: Piermario Vescovo (Ca’ Foscari University of Venice) - Keynote; Christine Jeanneret (HM Queen Margreth II’s Distinguished Fellow of The Carlsberg Foundation – Attachée au Centre de Recherche, Château de Versailles); Andrea Fabiano (Sorbonne University); Massimo Ciavolella (University of California, Los Angeles, UCLA); Javier Gutiérrez Carou (University of Santiago de Compostela); Álvaro Torrente (Complutense University of Madrid); Bruno Capaci (Alma Mater Studiorum – University of Bologna); Nicola Usula (University of Vienna); Gesa zur Nieden (Johannes Gutenberg University Mainz); Elisa Bastianello (IUAV University of Venice); Anna Korndorf (State Institute for Art Studies, Moscow); Melania Bucciarelli (Norwegian University of Technology and Science, Trondheim); Alina Zórawska-Witkowska (University of Warsaw); Kordula Knaus (University of Bayreuth); Andrea Zedler (University of Bayreuth); Nadezhda Chamina (National Research University Higher School of Economics, Moscow); Marc Niubo (Charles University Prague); Anna Parkitna (Stony Broke University); Petra Dotlačilová (Stockholm University).
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.
Le voci arcane: Palcoscenici del potere nel teatro e nell’opera, ed. by Tatiana Korneeva, Roma: Carocci, 2018.