French operetta after operetta, 1872-1900

轻歌剧之后的法国轻歌剧，1872-1900

• 批准号: EP/X020983/1
• 负责人: Sarah Hibberd
• 金额: $ 33.41万
• 依托单位: University of Bristol
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=EP%2FX020983%2F1
• 关键词: French; operetta; after; 1872; 1900

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.

在通常的用法中，“法国轻歌剧”实际上是第二帝国opsamra -bouffe的同义词。即使在学术层面上，这个词在集体想象中也不可磨灭地与雅克·奥芬巴赫和他的主要竞争对手herv2013.858年至1869年的一小部分作品联系在一起：其中包括《奥芬巴赫和他的主要竞争对手》、《漂亮的h2013.01》、《大公爵夫人》、《小浮士德》等。然而，在接下来几十年的舞台作品中，我们经常使用“轻歌剧”或“opacimrette”，假设线性和未被打破的传统。“法国轻歌剧之后的轻歌剧，1872-1900”（OP-aftER-ETTA）这个全球奖学金项目重新审视了1870年之后法国轻歌剧的历史，提出了两个具有挑衅性的问题：(1)如果“轻歌剧”不是轻歌剧会怎样？也就是说，如果第二帝国的“opsamrette -bouffe”和后来的“operetta”之间的连续性，都包含在“opsamrette”这个词下，是虚构的呢？(2)那么，这部小说是什么时候、由谁伪造的，又是为什么？第二帝国的opsamra -bouffe是如何成为opsamra -bouffe的，以及后来的作品是如何被纳入以第二帝国opsamra -bouffe为起点的opsamra -bouffe的历史的？OP-aftER-ETTA为第三共和国头几十年的大部分法国戏剧的修正主义叙述奠定了基础。其方法的独创性体现在四个方面：它通过质疑传统的一般类别并采用替代类别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，机构和受众。它是“音乐剧”和“口语戏剧”的桥梁，这种二分法与19世纪法国戏剧的现实不符。它摒弃了将戏剧史视为戏剧史的传统观念，偏向于主张高雅艺术的作品，后来被选为经典的作品，以及反对复兴的新作品。