The Italian Opera Libretto and Dubrovnik Theatre (PDF)
(17th and 18th Century)
(Sprache: Englisch)
A specific model of opera libretto without music in Dubrovnik during the 17th and 18th century
Nowhere in Europe the Italian opera libretto has had such a direct and decisive influence on original national drama production as it did in Dubrovnik during...
Nowhere in Europe the Italian opera libretto has had such a direct and decisive influence on original national drama production as it did in Dubrovnik during...
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A specific model of opera libretto without music in Dubrovnik during the 17th and 18th century
Nowhere in Europe the Italian opera libretto has had such a direct and decisive influence on original national drama production as it did in Dubrovnik during the 17th and 18th century. In the "Golden Age of Croatian Literature", a hybrid drama genre was created. For more than a century, authors of this genre looked attentively at the most important trends of Italian opera production and followed them faithfully. In Croatian literature of the 17th and 18th century, a specific model of libretti without music was created, one that appropriated the Italian libretto. These plays were not performed along with functional music, although sometimes authors and actors would provide instrumental accompaniment to the texts. Nothing more needs to be said for the dissemination and specific reception of Italian opera librettos in Dubrovnik during the 17th and 18th century to be understood as occupying a noteworthy place in the cultural life of Europe.
Nowhere in Europe the Italian opera libretto has had such a direct and decisive influence on original national drama production as it did in Dubrovnik during the 17th and 18th century. In the "Golden Age of Croatian Literature", a hybrid drama genre was created. For more than a century, authors of this genre looked attentively at the most important trends of Italian opera production and followed them faithfully. In Croatian literature of the 17th and 18th century, a specific model of libretti without music was created, one that appropriated the Italian libretto. These plays were not performed along with functional music, although sometimes authors and actors would provide instrumental accompaniment to the texts. Nothing more needs to be said for the dissemination and specific reception of Italian opera librettos in Dubrovnik during the 17th and 18th century to be understood as occupying a noteworthy place in the cultural life of Europe.
Autoren-Porträt von Viktoria Franic Tomic, Slobodan Prosperov Novak, Ennio Stipcevic
Slobodan Prosperov Novak taught at the Faculty of Humanities and Social Sciences in Zagreb, at Sapienza University in Rome and at Yale University, and today is a professor at the Academy of Dramatic Art in Zagreb. He is the author of more than 30 books; his most important one is History of Croatian Literature (1996-99).Viktoria Franic Tomic taught at the Faculty of Humanities and Social Sciences in Split, at the Academy of Art in Split, and is now professor at the Croatian Studies Centre, University of Zagreb. She is the author of several books, mostly about ancient Croatian Literature, and Dubrovnik cultural history.
Ennio Stipcevic is a research fellow and science adviser at the Croatian Academy of Sciences and Arts. He was also a lecturer at the Zagreb Academy of Music (1994-2015). He spent the academic year of 1996/97 as a Fulbright visiting scholar at Yale University and is the author of 15 books, including Renaissance Music and Culture in Croatia (2016).
Bibliographische Angaben
- Autoren: Viktoria Franic Tomic , Slobodan Prosperov Novak , Ennio Stipcevic
- 2020, 136 Seiten, Englisch
- Verlag: Hollitzer Wissenschaftsverlag
- ISBN-10: 3990127993
- ISBN-13: 9783990127995
- Erscheinungsdatum: 20.04.2020
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