French operetta after operetta, 1872-1900

在一般的用法中，“法国轻歌剧”实际上是第二帝国歌剧的同义词。即使在学术层面上，这个词在集体想象中也与雅克·奥芬巴赫及其主要竞争对手埃尔韦的少量作品有着不可磨灭的联系，这些作品创作于1858年至1869年的短时期内：其中包括《孤儿》、《拉贝尔·埃莱娜》、《热罗斯坦大公》、《小浮士德》。然而，我们经常使用“轻歌剧”，或轻歌剧，为舞台作品的未来几十年，假设线性和完整的传统。这个全球奖学金项目，“轻歌剧后的法国轻歌剧，1872-1900”（OP-aftER-ETTA），重新审视了1870年后法国轻歌剧与音乐的历史，提出了两个挑衅性的问题：（1）如果世纪末的“轻歌剧”不是轻歌剧？也就是说，如果第二帝国的轻歌剧和后来的“轻歌剧”（两者都归入轻歌剧一词）之间的连续性是虚构的呢？(2)那么，这一虚构是在什么时候、由谁、为什么编造出来的呢？第二帝国的轻歌剧是如何变成轻歌剧的，以及我们的作品是如何融入以第二帝国轻歌剧为起点的轻歌剧史的？OP-aftER-ETTA为第三共和国前几十年法国戏剧的大部分修正主义叙述奠定了基础。其方法的独创性是四方面的：它通过质疑传统的类属范畴并采用替代性的类属范畴来重新构建其研究对象。它将焦点从作者和个人作品转移到流派，机构和观众。它在“音乐剧”和“口语剧”之间架起了一座桥梁，这种二分法与19世纪法国戏剧的现实不符。它摒弃了传统的观念，即戏剧史就是戏剧史，这种观念偏向于那些声称是高雅艺术的作品，那些后来被选为经典的作品，以及那些反对复兴的新作品。

In common usage, 'French operetta' is virtually synonymous with Second Empire opéra-bouffe. Even at the academic level, the term isindelibly associated in the collective imagination with a small number of works by Jacques Offenbach and his main competitor Hervédating from a short period of time, from 1858 through 1869: among others, Orphée aux enfers, La belle Hélène, La Grande-Duchessede Gérolstein, Le petit Faust. And yet we routinely use 'operetta', or opérette, for stage works of the following decades, assuming alinear and unbroken tradition. This Global Fellowship project, 'French operetta after operetta, 1872-1900' (OP-aftER-ETTA), reexaminesthe history of French light theatre with music after 1870, asking two provocative questions:(1) What if fin-de-siècle 'operetta' was not operetta? That is, what if the continuity between Second Empire opéra-bouffe and later'operetta', both subsumed under the word opérette, were a fiction?(2) When, by whom, and why, then, was this fiction forged? How did Second Empire opéra-bouffe become opérette, and how werelater works incorporated into a history of opérette that has its starting point in Second Empire opéra-bouffe?OP-aftER-ETTA lays the groundwork for a revisionist account of a large portion of French theatre in the first decades of the ThirdRepublic. The originality of its approach is fourfold: It reframes its very object of study by questioning conventional generic categories and adopting alternative ones. It shifts the focus away from authors and individual works, and towards genres, institutions, and audiences. It bridges 'musical theatre' and 'spoken theatre', a dichotomy that is at odds with the reality of nineteenth-century French theatre. It does away with traditional conceptions of the history of theatre as a history of drama, biased in favour of works with a claim tohigh art, of works later selected as canonical, and of new works as opposed to revivals.