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Performing Antiquity tells the captivating story of the most intriguing Belle Époque personalities - archaeologists, philologists, classicists, and musicologists - and the dancers, composers, choreographers and musicians who brought their research to life at the birth of Modernism.
Table des matières
- Epigraph
- Acknowledgements
- List of Figures
- List of Music Examples
- Chapter 1. Introduction: Musicology, Archaeology, Performance: Models and Methods
- Chapter 2. Gabriel Fauré and Théodore Reinach: Hidden Pianos and L'Hymne à Apollon
- Chapter 3. Performing Sappho's Fractured Archive, or Listening for the Queer Sounds in the Life and Works of Natalie Clifford Barney
- Chapter 4. Performing Scholarship for the Paris Opéra: Maurice Emmanuel's Salamine (1929)
- Chapter 5. "To Give Greece Back to the Greeks:" Archeology, Ethnography and Eva Palmer Sikelianos' Prometheus Bound
- Chapter 6. Scholars and Their Objects of Study; or, Loving Your Subject
- Notes
- Bibliography
- Index
A propos de l'auteur
Dr. Samuel N. Dorf is a musicologist and dance historian. His research areas include intersections between musicology and dance studies and the history of technology, studies of antiquity, reception studies, queer studies, and the history of performance practice. He teaches at the University of Dayton.
Résumé
Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890-1930 investigates collaborations between French and American scholars of Greek antiquity (archaeologists, philologists, classicists, and musicologists), and the performing artists (dancers, composers, choreographers and musicians) who brought their research to life at the birth of Modernism. The book tells the story of performances taking place at academic conferences, the Paris Opéra, ancient amphitheaters in Delphi, and private homes. These musical and dance collaborations are built on reciprocity: the performers gain new insight into their craft while learning new techniques or repertoire and the scholars gain an opportunity to bring theory into experimental practice, that is, they have a chance see/hear/experience what they have studied and imagined. The performers receive the imprimatur of scholarship, the stamp of authenticity, and validation for their creative activities. Drawing from methods and theory from musicology, dance studies, performance studies, queer studies, archaeology, classics and art history the book shows how new scholarly methods and technologies altered the performance, and, ultimately, the reception of music and dance of the past. Acknowledging and critically examining the complex relationships performers and scholars had with the pasts they studied does not undermine their work. Rather, understanding our own limits, biases, dreams, obsessions, desires, loves, and fears enriches the ways we perform the past.
Texte suppl.
Like a sudden aerolith alighting in some historian's surprised garden, Dorf's glowing book gives us an alternative history of turn-of-the-century Europe filled with earnest lesbians and archaeologists, hidden pianos in neo-Delian villas, visionary dancers, and an exuberant arc of musical and artistic fantasy about ancient Greece that returns us to the wonder of a period a hundred years behind us, yet which still invites us to ask who we are and what we love.
