The Oxford Handbook of Shakespeare and Music最新文献_第2页

Musical Response to Shakespeare in Greater China 莎士比亚在大中华区的音乐回应

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.26

Katrine K. Wong

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The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.35

Michael Graham

{"title":"From Hal to Henry","authors":"Michael Graham","doi":"10.1093/oxfordhb/9780190945145.013.35","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.35","url":null,"abstract":"This chapter explores the presentation of gender and sexuality in Gustav Holst’s At the Boar’s Head (1925), a one-act ‘musical interlude’ based on the Eastcheap tavern scenes from Shakespeare’s Henry IV. Holst’s third opera was received initially as an ingenious but ultimately trivial exercise in combining Shakespearean material with traditional English folk music. More recently, however, it has been interpreted as a work which encapsulates the profound sense of nostalgia and trauma present in British society during the post–Great War period. This chapter argues further that At the Boar’s Head’s liminal, microcosmic tavern space reveals the disruptions and reactive consolidations of gender identity and sexual expression that occurred during the First World War. Through the contrasting figures of its central ‘couple’, Prince Hal and Falstaff, the work especially scrutinizes the capacity of war to alter male personality and desire, the pressure placed on men to conform to a ubiquitous image of heroic, heterosexual masculinity, and the complex, conflicting reactions of soldiers at their moment of recruitment. Paying particular attention to Hal’s two intensely introspective arias, ‘I know you all …’ and ‘Devouring Time’, the chapter dissects the young prince’s protean journey to attaining the paradigmatic manliness of his later incarnation, Henry V, who was celebrated as the inspirational embodiment of British, martial male identity during the war years.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124741055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Otherness and Strange Sounds 异类和奇怪的声音

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.36

A. Simonis

{"title":"Otherness and Strange Sounds","authors":"A. Simonis","doi":"10.1093/oxfordhb/9780190945145.013.36","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.36","url":null,"abstract":"This chapter examines how modern composers have developed a new approach to Shakespeare’s The Tempest by adopting creative approaches decidedly different from romantic interpretations or bel canto opera. Most twentieth-century musicalizations of the play—which is characterized by multidimensional, meta-poetical, and psychological intensity—present an experimental view of its structural potential and an intense exploration of the psychological dimensions of the personae. At the beginning of the twentieth century, a romantic opera by Nicholas Gatty (1920) still corresponds to nineteenth-century tastes. In contrast, Sibelius’s suite Stormen (1926) clearly reflects a modernist design, with harps and percussion representing the ambivalent character of Prospero, while the impressive chorus of winds and the intermittent sounds depicting Ariel underline the experimental and avant-garde nature of the composition. Since the second half of the century, composers’ efforts in adapting Shakespeare’s late comedy in stage music and opera have culminated in a series of notable works: Frank Martin’s Der Sturm (1956), Michael Tippett’s The Knot Garden (1971), Luciano Berio’s Un Re in Ascolto (1984), John Eaton’s The Tempest (1985), and Thomas Adès’s The Tempest (2004). This chapter compares these different operatic adaptations according to their poetical and musical devices, designs, and overall perspectives. What these very different compositions have in common is the fact that they no longer intend to provide musical settings for a Shakespearean play. Instead, they create their own works of art which (even in the wording of their libretti) are but loosely connected to the original version of their source.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133846180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Dramaturgy of the Shakespearean Libretto 莎士比亚剧本的戏剧学

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.27

P. Drábek

{"title":"Dramaturgy of the Shakespearean Libretto","authors":"P. Drábek","doi":"10.1093/oxfordhb/9780190945145.013.27","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.27","url":null,"abstract":"From the late seventeenth century (Purcell’s The Fairy-Queen, 1692), Shakespeare’s plays have entered the realm of music theatre and opera, inspiring both composers and their librettists. Operas on Shakespearean themes have played a seminal role in the repertoire and continue to do so—just as Shakespeare’s own plays have done in the spoken theatre. This chapter analyses examples of libretti that adapt and translate Shakespeare’s plays into the operatic genre. Special attention is paid to dramatic situations, character construction, performative poetry and the role of music—the very making of musical theatre (or the melodramatic arts) that librettists and composers undertake in developing the potential and inspiration from Shakespeare. Rather than being exhaustive and extensive in mapping the wide field of Shakespearean opera, this chapter offers a detailed analysis of different types of dramaturgy and libretto, relating them to the cultural moments in which the works were created and revived, forming musical variants of the Shakespearean canon. The case studies of the libretti’s melodramatic imagination are Henry Purcell’s The Fairy-Queen (1692), Jiří Antonín Benda and Friedrich Wilhelm Gotter’s Romeo und Julie (1779), Antonio Salieri and Carlo Prospero Defranceschi’s Falstaff, o le tre burle (1799), Carl Maria von Weber and James Robinson Planché’s Oberon, or The Elf King’s Oath (1826), and Thomas Adès and Meredith Oakes’ The Tempest (2004).","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"51 7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125026888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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‘Where should this music be?’ “音乐应该放在哪里?””

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.44

J. Cunningham

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‘More hits than you can possibly imagine’ “比你想象的要多”

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.42

Jeanne Butler

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‘In comes Romeo, he’s moaning’ “罗密欧进来了，他在呻吟”

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.9

H. Wilde

{"title":"‘In comes Romeo, he’s moaning’","authors":"H. Wilde","doi":"10.1093/oxfordhb/9780190945145.013.9","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.9","url":null,"abstract":"Ever since George Harrison’s remark that Bob Dylan ‘makes Shakespeare look like Billy Joel’, comparisons between Dylan and Shakespeare have been something of a cliché. On the one hand, there is a substantial list of Shakespearean echoes in Dylan’s lyrics; on the other, to the rock critics and Dylan hagiographers of the 1960s, Shakespeare’s name was a shorthand for ‘canonic’, ‘authentic’, ‘transcendent’. Arguably, the idea of the rock auteur was born around 1965—the point when Dylan renounced his ‘folk’ status and executed a decisive stylistic swerve, not only by ‘going electric’, but by littering his work with cryptic allusions, direct Shakespeare references, and a list of theatrical characters. Later, in the Chronicles (2003), there seems to be a swerve in the opposite direction, when Dylan reclaims his ‘folk’ status, and reassumes the mantle of folksinger, folklorist, and musicologist. These tensions between ‘high’ and ‘low’ art (and the secondary axis of ‘folk’ and ‘anti-folk’) have characterized much of the academic and non-academic literature. This chapter will explore some of the intersections between Shakespeare scholarship and the work of rock auteurs from Dylan onwards. In particular, it will focus on the theme of melancholy, as personified by Jaques in As You Like It who, as an anxiety-ridden character prone to rhetorical flourishes and self-pity, is a recognizable trope in much of the post-Dylan singer-songwriter repertoire, and consider Ophelia as a similarly rich seam in pop songwriting.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123925621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Thomas Morley, Robert Johnson, and Songs for the Shakespearean Stage 托马斯·莫利、罗伯特·约翰逊和莎士比亚舞台之歌

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.12

Ross W. Duffin

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Shakespeare in Berlioz, Berlioz in Shakespeare 莎士比亚在柏辽兹，柏辽兹在莎士比亚

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.21

Julian Rushton

{"title":"Shakespeare in Berlioz, Berlioz in Shakespeare","authors":"Julian Rushton","doi":"10.1093/oxfordhb/9780190945145.013.21","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190945145.013.21","url":null,"abstract":"Berlioz’s obsession—it was hardly less—with Shakespeare set in when he witnessed performances of Hamlet and Romeo and Juliet, in English (a language he scarcely knew), at the Odéon theatre, Paris, in 1827. His feelings were complicated by his falling in love with Ophelia/Juliet, in the person of Harriet Smithson, whom he later married. His habit of citing lines, in the original, was life-long; he used Shakespeare for epigraphs to his scenes from Goethe’s Faust (1829) and other works, and often quoted him in his journalism and other writings. He was perhaps more cautious about exposing his feelings in music; his first Shakespeare-inspired composition is not from the tragedies he had witnessed, but is a fantasy-overture inspired by The Tempest (1830). The next year he composed an overture King Lear; he had, however, only read, and not seen, both plays. In 1839, however, Berlioz composed a large-scale concert work (‘dramatic symphony’) Roméo et Juliette, and in the 1840s he composed music connected to Hamlet. Writing the libretto for his great opera Les Troyens, he called it ‘Virgil Shakespeareanized’, and his swan-song was an opéra comique, Béatrice et Bénédict (1862–1863), based on Much Ado About Nothing. It is sometimes argued that he ‘misunderstood’ Shakespeare; more constructively, it will be suggested that he read Shakespeare to serve his own creative objectives.","PeriodicalId":166828,"journal":{"name":"The Oxford Handbook of Shakespeare and Music","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117098571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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‘If it’s good enough for Shakespeare, it’s good enough for us’ “如果对莎士比亚来说足够好，对我们来说也足够好。”

The Oxford Handbook of Shakespeare and Music Pub Date : 2022-02-14 DOI: 10.1093/oxfordhb/9780190945145.013.37

Benedict P. B. Francis

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