"Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon

  • 0 Ratings
  • 0 Want to read
  • 0 Currently reading
  • 0 Have read

My Reading Lists:

Create a new list

Check-In

×Close
Add an optional check-in date. Check-in dates are used to track yearly reading goals.
Today

  • 0 Ratings
  • 0 Want to read
  • 0 Currently reading
  • 0 Have read

Buy this book

Last edited by ImportBot
April 17, 2024 | History

"Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon

  • 0 Ratings
  • 0 Want to read
  • 0 Currently reading
  • 0 Have read

Under the perspective of the theory of systems and communication theory, this book investigates institucional, political, social and cultural aspects of the opera in Portugal, taking particularly into account the Lisbon Opera House (Teatro Nacional de São Carlos). The opera is seen as a system of social communication in structural connexion with the transformations of the public sphere. From the 19th century to the end of the 20th century, on the basis of a huge amount of empirical sources (archivistic material, periodicals, literary works, legislation, etc.) the author identifies different models of communication whose emergence cannot be separated from the social and political environment. The prevalence of a 'coloquial structure' of communication during the romantic era (until the end of the 19th century), in which the illusionistic presentation of the opera performance as a whole was far from being stabilised, cannot be understood without considering the difficulties of establishing in Portugal a strong bourgeois public sphere, as well as helps to better understand those difficulties. Only at the beginning of the 20th century 'perfect illusion' on the stage and empathy of the audience - the bourgeois model of communication introduced by the enlightened theory and praxis of opera since the 1770's years - has begun to be stabilised in Portugal. Although the enligthened discourse of the educative role of theatre and opera appears in Portugal quite uptodate, in 1771, in a petition of businessmen that Joseph I and his minister Pombal approved, the social and political forces at work did not allow the transference of those ideas into the praxis. With the end of the period of enlightened Despotism and the coronation of Maria I (1777), the influence of the Catholic Church in the Court became so strong as in earlier times, so that the building of the Opera House (Teatro São Carlos) in 1793, a project in which the businessmen of Lisbon were again engaged, had to be justified has a source of income for a charity institution ('Casa Pia'). The enlightened discourse from the 1770's was thus abandoned to give place to the old concept introduced since 1588 by Philip II of Spain, I of Portugal, according to which every theatrical performances were considered forms of entertainment morally suspect that might be only tolerated if part of the revenues revert to charity. The change of the 'coloquial structure' of communication to an effective 'presentational structure', including the ideal of 'perfect illusion' on the stage, the reception of the opera performance as a whole, and the silence, concentration and empathy of the spectator, takes place definitively only after the establishment of the Republic (1910). In this sense, the Republican programme on the cultural field can be seen as a late fully realisation and development of the ideas of the Enlightenment, in that it committed to all art forms a decisive role in the education of the people. The potential of the Republican reforms was, however, interrupted by the Fascist putch of 1926. In the era of 'Estado Novo' the Opera House became above all, since its reopening in 1940, a representative theatre, a kind of 'official reception hall' in which the power and financial elites exhibit themselves and demonstrated their 'heterogeneity' (G. Bataille) before the common people. Such transformations of the sociocommunicative systems are analysed having in view the key motive of the relation music-words in the opera, notably, the lack of a tradition of opera in Portuguese language. Hostility to theater for religious reasons caused the ban of theatre perfomances in Portuguese language from the court since Gil Vicente's dead. Since mid 16th century and until the beginning of 18th century, a kind of court self-censorship did not allow but performances of tragicomedies in Latin language produced by the colleges of Jesuits. Under the reign of João V, from the beginning of the 18th century to 1750, only Italian opera began to be represented at the court. In the meanwhile, retaking a tradition interrupted since Gil Vicente's death, a kind of 'Singspiel' (or musical comedy) in Portuguese language had begun to be represented in 1733 in a public theatre. This musical comedies, with a satirical content and represented by puppets, disappear although tragically from the stage in 1739, when the Inquisition ordered the burning of their author, the playwright António José da Silva, "The Jew" (the author of the music was António Teixeira). As to the Teatro de São Carlos, although being the first State Theatre since its inauguration in 1793, it became an Italian Theatre, in which even Portuguese composers had to write their music on Italian librettos. The whole repertoire was ever sung in Italian language during the 19th century. Despite its 'nationalistic claims' also the Estado Novo did not given any relevant support to the building of a tradition of Portuguese opera. The absence of such a tradition - expressed even in the extreme rarity of translations into Portuguese of repertoire originally created in other languages - is one of the factors that has blocked until today the development of an own opera culture in Portugal.

Publish Date
Language
German
Pages
432

Buy this book

Previews available in: German

Edition Availability
Cover of: "Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon
"Denken ist Sterben": Sozialgeschichte des Opernhauses Lissabon
1999, Bärenreiter, Bèarenreiter
in German

Add another edition?

Book Details


Table of Contents

Vorwort. Page 9 Erstes Kapitel. Die Sinnentleerung des gesungenen Wortes: Zur Musik- und Theaterentwicklung in Portugal bis zur Entstehung des Teatro de São Carlos Page 16 1. Der Dienst an Gott und die Opernfeindlichkeit Page 16 2. Die Einführung der italienischen Oper und die Auflösung einer Art portugiesischen Singspiels Page 29 3. Widersprüche der portugiesischen Aufklärung Page 41 4. Die Gründung des Teatro de São Carlos als Hoftheater für die Bourgeoisie Page 55 Zweites Kapitel. Das Wort dem Publikum: Das Teatro de São Carlos im 19. Jahrhundert Page 74 1. Die liberale Revolution und dfie Konsolidierung des Opernwesens als Repräsentation und Unterhaltung Page 74 2. Das Teatro de São Carlos als 'öffentliche Promenade' der Romantik Page 82 3. Die engen Beziehungen zwischen Bühne und Zuschauerraum Page 89 4. Illusion und Wirklichkeit Page 100 5. Die Oper und die Theaterreform des Setembrismo Page 117 Das Theaterleben in Lissabon um 1835 und die September-Revolution Page 117 Die verzögerte Verbürgerlichung in der Musik und im Theater Page 122 Nationalschauspiel als italienische Oper Page 129 Der Ausschluß der Oper vom Theater Page 133 6. Italienische Gesangskunst und Unterdrückung der nationalen Kreativität Page 136 Die Unterordnung des Nationalschauspiels unter das 'Italienische Theater' Page 136 Italienische Gesangskunst als Kulturbedürfnis Page 140 Gesang gegen Thaterspiel Page 145 Singen und 'heulen' Page 151 Offenbachs Wirkung auf die Entwicklung des Realismus in der Literatur Page 154 Offenbachs Theater und die Kritik an den herrschenden Kommunikationsverhältnissen Page 158 Drittes Kapitel. Der mißglückte Weg zum Wort-Ton-Drama: Vom Vorabend der Republik bis zum Aufstieg des Faschismus Page 164 1. Das Teatro de São Carlos am Vorabend der Republik Page 164 Die Einführung Wagners als Ausdruck des Bedürfnisses nach 'Zivilisation' Page 164 Wagner-Aufführungen als Moment der Opernkonkurrenz Page 172 Opernunterhaltung und Snobismus Page 178 2. Das Bewußtwerden von 'Oper? und 'Drama' Page 183 Die Bilanz anläßlich der Lohengrin Erstaufführung 1883 Page 183 Kunst ‘mit Ideen’ und ‘ohne Ideen’ Page 188 Die italienische Darstellungspraxis Page 193 Die Charakterisierung der Szene Page 195 Die Qualitäten des Orchesters Page 197 Die Entdeckung der Fabel Page 198 Über die Fähigkeiten und Fertigkeiten der Darsteller Page 201 Zum Gesamtkunstwerk Page 205 3. Die Aneignung der ‘absoluten Musik’ Page 209 Zur Entwicklung des Konzertwesens Page 209 Wagners Schaffen in konzertanter Popularisierung Page 213 Opernbetrieb und sinfonisches Erbe Page 215 ‘Absolute Musik’ und ‘musikalisches Drama’ Page 217 4. Wagners kulturideologische Wirkung Page 221 Wagners Eindringen in die Literatur und die Presse Page 221 Vom Nationalgefühl der Dekadenz bis zum Führerprinzip Page 222 Parsifal versus Siegfried Page 227 Christentum, Schopenhauer und Gobineau – versus Feuerbach Page 233 Emotion versus Verstand Page 236 Neothomismus versus Rationalismus Page 240 5. Das Teatro de São Carlos in den Zwanziger Jahren Page 245 Kulturbedürfnis und Snobismus Page 245 Der wirtschaftliche Erfolg von Wagners Werke im Rahmen der italienischen Opernpraxis Page 252 Weitere Entwicklungen in den Auseinandersetzungen um ‘Oper’ und ‘Drama’ Page 259 Viertes Kapitel. Das tote Wort: Das Teatro de São Carlos unter dem Faschismus Page 268 1. Die Wiedereröffnung des Teatro de São Carlos 1940 als ‘Empfangssalon Portugals’ Page 268 2. Oper als Ästhetisierung der Politik Page 277 Ein ‘völkisches’ Kommunikationsmodell Page 277 Exkurs: Zum Aufstieg des Faschismus in Portugal Page 280 Ein repräsentatives Kommunikationsmodell Page 285 3. Musikkultur als Staatspropaganda Page 290 4. Fremdsprache oder verdeckte Zensur Page 300 5. Antifaschistischer Widerstand und Politisierung der Kunst Page 306 Fünftes Kapitel. Auf der Suche nach dem gesungenen Wort: Zu den Entwicklungsperspektiven des Musiktheaters in Lissabon Page 321 Anhang. Page 334 I. Repertoire der Musikbühnen in Lissabon von 1733 bis 1792 Page 334 A). Regierungszeit von João V.: Hof (PR) (1733-1741) Page 334 B). Regierungszeit von João V.: öffentliche Theater (TC) (1733-1741 Page 334 C). Regierungszeit von João V.: öffentliche Theater (TBA) (1733-1741) Page 335 D). Regierungszeit von José I.: Hoftheater (1752-1777) Page 336 E). Regierungszeit von José I.: öffentliche Theater (1765-1774) Page 339 F). Regierungszeit von Maria I.: Hof (1777-1792) Page 339 G). Regierungszeit von Maria I.: öffentliche Theater (1784-1792) Page 342 II. Erst- bzw. Uraufführungen im São Carlos von 1793 bis 1816 Page 344 III. Erst- bzw. Uraufführungen im São Carlos von 1817 bis 1924 Page 351 IV. Struktur der Spielzeiten des São Carlos von 1882 bis 1924 Page 361 V. Erst- bzw. Uraufführungen im São Carlos von 1925 bis 1998 Page 373 Zeittafel. Page 378 Dank. Page 386 Abkürzungen. Page 388 Quellen- und Literaturverzeichnis Page 390 Personenregister Page 420

Edition Notes

Includes bibliographical references (p. 394-419) and index.
This German ed. is based on the Portuguese rev. ed. of 1993 with title Pensar é morrer, ou, O Teatro de São Carlos, which in turn was developed from the author's thesis in German (Humboldt-Universität zu Berlin, 1984). This German ed. corrects, develops, updates, and adds iconography to the Portuguese ed. of 1993.

Published in
Kassel
Series
Musiksoziologie ;, Bd. 5

Classifications

Dewey Decimal Class
782.109469425
Library of Congress
ML1748.8.L62 C28 1999, ML1748 .C37 1999

The Physical Object

Pagination
432 p. :
Number of pages
432

ID Numbers

Open Library
OL4020307M
Internet Archive
denkeniststerben0000carv
ISBN 10
3761813546
LCCN
2001400253
OCLC/WorldCat
42311696, 52335182
Goodreads
3794297

Community Reviews (0)

Feedback?
No community reviews have been submitted for this work.

Lists

This work does not appear on any lists.

History

Download catalog record: RDF / JSON
April 17, 2024 Edited by ImportBot import existing book
December 5, 2020 Edited by MARC Bot import existing book
April 28, 2010 Edited by Open Library Bot Linked existing covers to the work.
March 16, 2010 Edited by WorkBot update details
December 10, 2009 Created by WorkBot add works page