Davinia Caddy
Biographic Data
| ID | 6335996 |
|---|---|
| NAME | Davinia Caddy |
| GIVEN NAMES | Davinia |
| FAMILY NAME | Caddy |
| SIGNATURE | CADDY D |
| AFFILIATIONS | University of Auckland |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2008 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
In Auditory Absentia
Inspired by recent interdisciplinary studies of music and the visual arts, this article is broadly based on the permeable boundaries between the two that are characteristic at the fin de siècle . I concentrate on scenes of music-making depicted on two painted canvases : Pierre Puvis de Chavannes’s Le Chant du berger (1891) and Henri Matisse’s La Musique (1910). The principal aim is to suggest how these illustrations of music and musical performan…
Attention, Music, Dance
In this essay I take up the question of whether the “cinema of attractions,” as identified and analyzed by film scholars Tom Gunning and André Gaudreault, might be a useful tool for critical analysis not only of early silent film, its exhibitionist aesthetics, and approach to spectatorship, but of theatrical dance from the period. Certainly, as for its general historical currency, the “cinema of attractions” is thought to encode the culture of mo…
The Ballets Russes and Beyond
Belle-époque Paris witnessed the emergence of a vibrant and diverse dance scene, one that crystallized around the Ballets Russes, the Russian dance company formed by impresario Sergey Diaghilev. The company has long served as a convenient turning point in the history of dance, celebrated for its revolutionary choreography and innovative productions. This book presents a fresh slant on this much-told history. Focusing on the relation between music…
Ballets Russes and Beyond
On Ballet at the Opéra, 1909–14, and La fête chez Thérèse
This article is broadly centred on the ballets staged at the Paris Opéra during the era in which Diaghilev's Ballets Russes were resident in the French capital. I seek initially to define the ways in which both troupes, the Opéra Ballet and the Russian, were received in the period press: in short, how the French company was implored to take its lead from Russian choreographic and scenic developments. My principal aim, though, is to offer a ‘thick…
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On Ballet at the Opéra, 1909–14, and La fête chez Thérèse
This article is broadly centred on the ballets staged at the Paris Opéra during the era in which Diaghilev's Ballets Russes were resident in the French capital. I seek initially to define the ways in which both troupes, the Opéra Ballet and the Russian, were received in the period press: in short, how the French company was implored to take its lead from Russian choreographic and scenic developments. My principal aim, though, is to offer a ‘thick…
The Ballets Russes and Beyond
Belle-époque Paris witnessed the emergence of a vibrant and diverse dance scene, one that crystallized around the Ballets Russes, the Russian dance company formed by impresario Sergey Diaghilev. The company has long served as a convenient turning point in the history of dance, celebrated for its revolutionary choreography and innovative productions. This book presents a fresh slant on this much-told history. Focusing on the relation between music…
Ballets Russes and Beyond
Attention, Music, Dance
In this essay I take up the question of whether the “cinema of attractions,” as identified and analyzed by film scholars Tom Gunning and André Gaudreault, might be a useful tool for critical analysis not only of early silent film, its exhibitionist aesthetics, and approach to spectatorship, but of theatrical dance from the period. Certainly, as for its general historical currency, the “cinema of attractions” is thought to encode the culture of mo…
In Auditory Absentia
Inspired by recent interdisciplinary studies of music and the visual arts, this article is broadly based on the permeable boundaries between the two that are characteristic at the fin de siècle . I concentrate on scenes of music-making depicted on two painted canvases : Pierre Puvis de Chavannes’s Le Chant du berger (1891) and Henri Matisse’s La Musique (1910). The principal aim is to suggest how these illustrations of music and musical performan…
Art (4 works) · Visual arts (4 works) · Dance (3 works) · Diversity and Impact of Dance (3 works) · Musicology and Musical Analysis (3 works) · Aesthetics (2 works) · Art history (2 works) · Ballet (2 works) · Literature (2 works) · Musical (2 works)