The Flying Dutchman, English Spectacle and the Remediation of Grand Opera
Bibliographic Data
| ID | 5810239 |
|---|---|
| Authors | Gustavo Cruz (0000-0002-4880-9162, corresponding author), Gabriela Cruz (0000-0002-5953-7502) |
| Year | 2017 |
| Volume | 29 |
| Issue | 1 |
| Pages | 5-32 |
| Publication date | 2017-03-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Cambridge Opera Journal (JOURNAL) |
| Journal identifiers | ISSN: 0954-5867 • E-ISSN: 1474-0621 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0954586717000027 |
| OpenAlex | W2761301014 |
| Language | EN |
| Citations received | 2 |
| References cited | 6 |
Richard Wagner wrote in 1852 that in settling on the theme of the phantom ship he had entered 'upon a new path, that of Revolution against our modern Public Art', that is, grand opéra . Wagner's revolution has often been described in light of the poetics of return and homecoming that contributed a new sense of identity to (German) opera. The present article is written against the grain of this conviction, and highlights the cosmopolitan career of the phantom ship and of the vernacular art forms - the nautical theatre and the phantasmagoria - that maintained the seafaring image at the forefront of the liberal imagination, first in Britain, and then in Paris, where Wagner arguably seized on it. Specifically, it explores the significance of 'apparitional images' to mid-nineteenth-century opera and Wagner's turn to a regime of modern spectacle, inspired by the art of phantasmagoria, in Der fliegende Holländer
Parade · Poetics · Spectacle · Historical Art and Culture Studies · Museums and Cultural Heritage · Visual Culture and Art Theory
| Citations per year | 0.29 |
|---|---|
| Citation span | 2019 - 2019 (1) |
| Highly cited | No |