Sex, Song and Self-Fashioning: Women on the Parisian Popular Stage

性、歌曲与自我塑造：巴黎流行舞台上的女性

• 批准号: 2114733
• 金额: --
• 依托单位: Durham University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2114733
• 关键词: Sex; Song; Self; Fashioning; Women

The project uses Joséphine Delorme and the Théâtre des Variétés as both inspiration and case study for a broader excavation of the careers of women female actors on the Parisian popular stage, c.1820-50: their self-fashioning and their representation in the public sphere through reviews, gossip columns, theatrical plates, portraits etc; their skill-set and agency in performance, their performance practices and repertoire; their institutional status and career trajectories. What was the social status and mobility typical of women in popular theatre? How far were the historic associations between the role of female actor and prostitute still central to perceptions of the role by the first half of the nineteenth century? What sort of training - in music, dance, drama or otherwise - did they have? How much artistic agency did they have in their performances? How far did such women contribute to the shaping of their public profile? And what role did they play in shaping public taste in fashion and in art?These are questions deserving of more attention. As well as complementing more general accounts of 'Theater Women' such as Lenard Berlanstein's Daughters of Eve: A Cultural History of French Theater Women from the Old Regime to the Fin de Siècle (Cambridge, MA: Harvard University Press, 2001), the project contributes to understanding of Parisian popular theatre in the 1820-50s, taking in female actors and practices at the Théâtre de la Gaité, the Théâtre du Vaudeville, the Théâtre de l'Ambigu-Comique was well as the Variétés. Pursuing performers' practices, for example, is a productive way to address the relative lack of knowledge about the aesthetic values and textual practices of genres such as vaudeville and mélodrame (where printed libretti leave provide fewer clues to performance than elsewhere), as well as aspects of embodied performance such as movement and gesture. The work thus fills a wider scholarly need, as well as the objectives of the Bowes Museum in addressing the lack of knowledge about Joséphine's background and career, and about some of the theatrical holdings in the archives. In other words: the research from this project will be useful to the outward face of the Bowes Museum, given the importance of Joséphine to the story they tell.The research to be carried out in the course of the PhD project includes the examination of: the critical press and theatrical journal reviews and almanacs; institutional records; private accounts of female actors (their own, and others'); published memoirs and acting manuals; examination of manuscript libretti and orchestral/vocal scores for popular theatrical repertoire; portraiture and costume designs. The central outcome of this project will of course be the student's PhD, later published either as a book or a series of articles. This would be accompanied by more public-facing publications; academic performance workshops on popular genres such as vaudeville; outward-facing performance workshops reconstructing some of Mlle Delorme's repertoire (museum volunteers have already begun translating libretti for this possible end); display materials both for individual items in the Bowes Museum collection and in the narrative presented about John and Joséphine Bowes.

该项目使用若泽·芬·德洛梅和S剧院作为灵感和案例，更广泛地挖掘女演员在巴黎流行舞台上的职业生涯(公元1820-1850年)：她们的自我塑造和通过评论、八卦专栏、戏剧板块、肖像等在公共领域的表现；她们在表演中的技能和经纪、她们的表演实践和剧目；她们的机构地位和职业轨迹。在流行戏剧中，女性的社会地位和流动性是什么？到19世纪上半叶，女演员和妓女之间的历史联系在多大程度上仍然是人们对这个角色的看法的核心？他们接受过什么样的训练--音乐、舞蹈、戏剧或其他方面？他们的表演有多少艺术经纪公司？这些女性在多大程度上为塑造她们的公众形象做出了贡献？它们在塑造公众的时尚和艺术品味方面扮演了什么角色？这些都是值得更多关注的问题。除了补充对“剧院妇女”的更一般的描述，如勒纳德·伯兰斯坦的“夏娃的女儿们：从旧政权到硅谷的法国戏剧妇女的文化史”(剑桥，马萨诸塞州：哈佛大学出版社，2001年)，该项目还有助于了解19世纪20-50年代巴黎流行戏剧，包括女演员和女演员在步步剧院、歌舞剧院、L剧院和S剧院的表演。这是一种富有成效的方式，可以解决对杂耍和mélodrame等流派的美学价值和文本实践相对缺乏的了解(在这些流派中，印刷的歌词离开提供的表演线索比其他地方更少)，以及具体表演的各个方面，如动作和手势。因此，这部作品满足了更广泛的学术需求，也满足了鲍斯博物馆的目标，即解决对若泽芬的背景和职业以及档案中的一些戏剧收藏品缺乏了解的问题。换句话说：鉴于何塞芬对他们讲述的故事的重要性，这个项目的研究将有助于鲍斯博物馆的外在形象。在博士项目过程中进行的研究包括：审查批评媒体和戏剧期刊评论和年鉴；机构记录；女演员(他们自己的和其他人的)的私人账户；出版的回忆录和表演手册；检查剧本手稿和流行戏剧剧目的管弦乐/声乐配乐；肖像和服装设计。这个项目的核心成果当然是学生的博士学位，后来以书籍或系列文章的形式出版。与此同时，将会有更多面向公众的出版物；关于杂耍等流行流派的学术表演讲习班；重建Mlle Delorme的一些剧目的外向型表演讲习班(博物馆志愿者已经开始为这一可能的目的翻译libretti)；鲍斯博物馆收藏的个别物品的展示材料，以及关于约翰和何塞芬·鲍斯的叙述。