Rebecca Harris‐Warrick
Biographic Data
| ID | 5639266 |
|---|---|
| NAME | Rebecca Harris‐Warrick |
| GIVEN NAMES | Rebecca |
| FAMILY NAME | Harris‐Warrick |
| SIGNATURE | WARRICK R H |
| AFFILIATIONS | Cornell University |
| VERIFIED | No |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1987 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 1 |
Dance and drama in French baroque opera a history
Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. Dance and Drama in French Baroque Opera exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement - present in every act o…
Lully's on-stage societies
Aside from their numerous and well-discussed musical differences, French and Italian Baroque operas depart radically from each other in their construction of on-stage societies. As a general rule, Italian operas present a small group of individuals who find themselves in unstable situations to which they seek individual resolutions. They may be rulers or generals, and the fate of thousands may depend on their actions, but their subjects or soldie…
Paris (opera)
Philidor, Pierre Danican
Dance
Philidor [Filidor] family
Dance
Ballet
Dance
Ingrid Brainard
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the 'Save PDF' action button
Magnificence in motion
Those fortunate enough to have seen the recent production of Jean-Baptiste Lully's Atys mounted by Les Arts Florissants will remember the sumptuously staged realm of sleep in Act III, during which costumed lute and recorder players appeared alongside the singers and dancers. Although conductor William Christie and director Jean-Marie Villégier made no attempt to reproduce the original seventeenth-century staging, they did adhere to Quinault's ins…
Translating Magri
Theoretical and Practical Treatise on Dancing (Naples, 1779). By Gennaro Magri. Translated by Mary Skeaping, with Anna Ivanova and Irmgard E. Berry. Edited by Irmgard E. Berry and Annalisa Fox. 246 pp. plus 23 folios of dance notations in facsimile. London: Dance Books, 1988. £25. $65
A new source for seventeenth‐century ballet
(1987). A new source for seventeenth‐century ballet: Le Manage de la Grosse Cathos. Dance Chronicle: Vol. 11, No. 3, pp. 398-428
A new source for seventeenth‐century ballet
(1987). A new source for seventeenth‐century ballet: Le Manage de la Grosse Cathos. Dance Chronicle: Vol. 11, No. 3, pp. 398-428
Magnificence in motion
Those fortunate enough to have seen the recent production of Jean-Baptiste Lully's Atys mounted by Les Arts Florissants will remember the sumptuously staged realm of sleep in Act III, during which costumed lute and recorder players appeared alongside the singers and dancers. Although conductor William Christie and director Jean-Marie Villégier made no attempt to reproduce the original seventeenth-century staging, they did adhere to Quinault's ins…
A new source for seventeenth‐century ballet
(1987). A new source for seventeenth‐century ballet: Le Manage de la Grosse Cathos. Dance Chronicle: Vol. 11, No. 3, pp. 398-428
Translating Magri
Theoretical and Practical Treatise on Dancing (Naples, 1779). By Gennaro Magri. Translated by Mary Skeaping, with Anna Ivanova and Irmgard E. Berry. Edited by Irmgard E. Berry and Annalisa Fox. 246 pp. plus 23 folios of dance notations in facsimile. London: Dance Books, 1988. £25. $65
Magnificence in motion
Those fortunate enough to have seen the recent production of Jean-Baptiste Lully's Atys mounted by Les Arts Florissants will remember the sumptuously staged realm of sleep in Act III, during which costumed lute and recorder players appeared alongside the singers and dancers. Although conductor William Christie and director Jean-Marie Villégier made no attempt to reproduce the original seventeenth-century staging, they did adhere to Quinault's ins…
Ingrid Brainard
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the 'Save PDF' action button
Philidor, Pierre Danican
Dance
Philidor [Filidor] family
Dance
Ballet
Dance
Paris (opera)
Lully's on-stage societies
Aside from their numerous and well-discussed musical differences, French and Italian Baroque operas depart radically from each other in their construction of on-stage societies. As a general rule, Italian operas present a small group of individuals who find themselves in unstable situations to which they seek individual resolutions. They may be rulers or generals, and the fate of thousands may depend on their actions, but their subjects or soldie…
Dance and drama in French baroque opera a history
Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. Dance and Drama in French Baroque Opera exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement - present in every act o…
Art (10 works) · Dance (7 works) · Visual arts (7 works) · Art history (5 works) · Diversity and Impact of Dance (5 works) · Baroque (4 works) · Computer Science (4 works) · Historical and Literary Studies (4 works) · Opera (4 works) · Literature (3 works)