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Staging Napoleonic theatre

拿破仑剧院的演出

基本信息

批准号：
AH/P00394X/1
负责人：
Katherine Astbury
金额：
$ 9.25万
依托单位：
University of Warwick
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2016
资助国家：
英国
起止时间：
2016 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FP00394X%2F1
关键词：
Staging Napoleonic theatre

项目摘要

This follow-on project will provide additional impact by distilling and disseminating knowledge acquired during the AHRC-funded "French Theatre of the Napoleonic Era" project. In the original bid, we envisaged small-scale participatory research workshops with theatre practitioners to explore practical issues surrounding the relationship between text and music in theatre of the time. By rehearsing scenes from melodrama we have shown that apparently simple musical cues operated on multiple levels -alluding to places or people; establishing atmosphere; marking moments of emotional release and coordinating the movement of actors. Follow-on funding would allow us to explore this much further and enable us to work more innovatively with 2 non-HEIs to put on public performances of plays not performed anywhere for nearly 200 years.Georgian Theatre Royal, RichmondThe Georgian Theatre Royal is the country's most complete Georgian playhouse, in regular use between 1788 and 1830. We have been asked us collaborate on a public performance of a Pixerécourt play (in new translation) with contemporary Napoleonic music. We will run workshops with the youth theatre, local amateur dramatics groups and schools in conjunction with the Theatre's artistic director and 2-3 professional actors, leading to a 'performance in a day'. In addition to the broader positive cultural impact of restaging this play, our work with local actors will enhance their knowledge and skills base by training them in French acting techniques of the period and opening their sensibilities to the relationship between music and text. The Theatre does not currently have the funds to invest in interpretation and so our work with them will provide valuable recordings to be used in their exhibition space and in subsequent outreach activities.Portchester CastleThe collaboration with English Heritage at Portchester will allow us to explore the plays performed by Napoleonic prisoners of war, which included an ambitious selection of hits from the Paris stage but also their own plays, including a full-scale melodrama, Roseliska, written in 1810 by a 21-year old sergeant, Jean Baptiste Louis de Lafontaine, who had been an actor at the Théâtre des Troubadours in Paris. The play draws heavily on the Parisian tradition of grand spectacle whilst addressing a number of themes close to the prisoners' hearts. Conducting performance-based research is particularly fruitful when surroundings can be properly taken into consideration. Although the wooden staging has not survived, the dimensions and acoustics of the basement of the Keep at Portchester are as they were in 1809/10 and working with actors and musicians alongside EH archaeologists allows us unique access into the mechanics of prisoner-of-war theatricals. Roseliska for instance has a scene where the hero escapes out of a window - working in situ will allow us to explore the possibility that the prisoners used the architecture of the keep to their advantage rather than constructing a set for this scene...Performing and recording the prisoners' own play will bring the Keep to life for visitors and allow them to discover more about the ingenuity and creativity of those detained. The performances will bring other benefits to Portchester, including increased visibility as an English Heritage property, potentially an increase in visitor numbers and income and will allow the Castle to expand the topics covered in its schools work.To coincide with the public performances at Portchester and in Richmond, we will run workshops for local schools on performing melodrama and the relationship between text and music. In this, we will be able to draw on our experience from running similar events in Oxford and Coventry in 2014. Staging Napoleonic theatre will allow us to reach new audiences, significantly enhance the value and wider benefits of the original project and create a firm basis for further collaboration with our non HEI partners.

这个后续项目将通过提炼和传播在AHRC资助的“拿破仑时代的法国剧院”项目期间获得的知识来产生额外的影响。在最初的投标中，我们设想与戏剧从业者一起举办小规模的参与性研究研讨会，探讨当时戏剧中文本与音乐之间关系的实际问题。通过排练情景剧中的场景，我们已经证明，看似简单的音乐线索在多个层面上起作用--暗示地点或人物;营造气氛;标记情感释放的时刻，以及协调演员的动作。后续资金将使我们能够进一步探索这一点，并使我们能够更创新地与2个非高等教育机构合作，将近200年来从未在任何地方演出的戏剧公演。格鲁吉亚剧院皇家，里士满格鲁吉亚剧院皇家是该国最完整的格鲁吉亚剧院，在1788年至1830年期间定期使用。我们被要求与当代拿破仑音乐合作公开表演皮克斯雷古戏剧（新译本）。我们将与青年剧院、当地业余戏剧团体和学校一起举办讲习班，并与剧院的艺术总监和2-3名专业演员一起举办“一日演出”。除了重新上演这出戏的更广泛的积极文化影响外，我们与当地演员的合作将通过培训他们在法国时期的表演技巧并开放他们对音乐和文本之间关系的敏感性来增强他们的知识和技能基础。剧院目前没有资金投资于口译，因此我们与他们的合作将提供有价值的录音，用于他们的展览空间和随后的外展活动。波切斯特城堡与波切斯特英国遗产的合作将使我们能够探索拿破仑战俘表演的戏剧，其中包括雄心勃勃的选择，从巴黎舞台上的热门作品，也包括他们自己的戏剧，其中包括一部完整的情节剧《Roseliska》，由21岁的中士让·巴蒂斯特·路易斯·德·拉方丹（Jean Baptiste Louis de Lafontaine）于1810年创作，他曾是巴黎游吟诗人剧院的演员。这出戏在很大程度上借鉴了巴黎盛大场面的传统，同时解决了一些接近囚犯心灵的主题。当能够适当考虑环境时，进行基于绩效的研究特别富有成效。虽然木制舞台没有幸存下来，但波切斯特要塞地下室的尺寸和音响效果与1809/10年一样，与演员和音乐家以及EH考古学家一起工作，使我们能够独特地进入战俘戏剧的机制。例如，Roseliska有一个场景，主人公从窗户里逃了出来-在原地工作将使我们能够探索囚犯利用保持的建筑对他们有利的可能性，而不是为这个场景建造一个场景。表演和录制囚犯自己的戏剧将为游客带来生命，并让他们更多地了解被拘留者的聪明才智和创造力。这些表演将为波切斯特带来其他好处，包括增加作为英国遗产的知名度，潜在的游客数量和收入增加，并将允许城堡扩大其学校工作所涵盖的主题。为了配合在波切斯特和里士满的公开表演，我们将为当地学校举办关于表演情节剧和文本与音乐之间关系的研讨会。在这方面，我们将能够借鉴2014年在牛津和考文垂举办类似活动的经验。举办拿破仑剧院将使我们能够接触到新的观众，显着提高原始项目的价值和更广泛的利益，并为与我们的非HEI合作伙伴的进一步合作奠定坚实的基础。