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Theatre Under Louis XIV: Cross
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A book with obvious wear. May have some damage to the cover but integrity still intact. The binding may be slightly damaged but integrity is still intact. Possible writing in margins, possible underlining and highlighting of text, but no missing pages or anything that would compromise the legibility or understanding of the text. See the seller’s listing for full details and description of any imperfections.
- Buy It NowTheatre Under Louis XIV: Cross
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eBay item number:177110129890
Item specifics
- Condition
- ISBN
- 9781403975188
About this product
Product Identifiers
Publisher
Palgrave Macmillan
ISBN-10
1403975183
ISBN-13
9781403975188
eBay Product ID (ePID)
51256657
Product Key Features
Number of Pages
Xi, 195 Pages
Publication Name
Theatre under Louis Xiv : Cross-Casting and the Performance of Gender in Drama, Ballet and Opera
Language
English
Publication Year
2006
Subject
Drama, Theater / History & Criticism, Europe / France, General, Clinical Psychology
Type
Textbook
Subject Area
Literary Criticism, Performing Arts, Psychology, History
Format
Hardcover
Dimensions
Item Height
0.6 in
Item Weight
14.6 Oz
Item Length
8.5 in
Item Width
5.5 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2005-057634
Reviews
"Prest's Theatre under Louis XIV masterfully studies drama, opera, and ballet under the Sun King. Gender ambiguity on the stage is now in danger of becoming a hackneyed and ideological cavalcade, but Prest rigorously makes it new. Likeaudiences, Prest knows that men and women are biologically different, and her shrewd awareness animates her study. She illuminates Molière, the glory of his age, with authentic insight and deep learning." -Harold Bloom, Yale University "This is a thoroughly researched, carefully reasoned, and engagingly written study of an important topic. Within the familiar context of the spoken comic drama, ideas are introduced that carry forward into the progressively less familiar material: first the single-sex school performances, of which we can recapture the dynamics without too great a stretch of the imagination; then the court ballet, which is truly a form alien to the modern reader. The last chapter deals with opera, which in one way is an excursion into even stranger territory, since most of the discussion is set against the background of the castrato - certainly the most extreme form of altering the male performer to project a female character. The study is a timely one and it makes an important contribution to the field." - Roger W. Herzel, Indiana University 'In this innovative and engagingly written study, Prest covers ballet and opera as well as spoken plays. Her range encompasses the history, principles and practices of religious school performances and court performances as well as those of the commercial theatre. She is a sure guide, and her analysis of comedy, eroticism, sexual ambiguities, and the courtly ideal is outstanding. Prest's impressive knowledge of the original texts, contemporary polemic, and a wide range of modern critical thinking enables her to present insights and discoveries that will change the way we see seventeenth-century performance practice.' - William Brooks, University of Bath"This concise, well-crafted, multifaceted volume offers a refreshingly original approach to performance practices in early modern France. At the end of thisthoroughly researched and illuminating study, Prest explains how French baroque opera, established inopposition to the Italian musical tradition, rejected the most complex figure associated with cross-casting: the castrato." - Choice, "Prest's Theatre under Louis XIV masterfully studies drama, opera, and ballet under the Sun King. Gender ambiguity on the stage is now in danger of becoming a hackneyed and ideological cavalcade, but Prest rigorously makes it new. Likeaudiences, Prest knows that men and women are biologically different, and her shrewd awareness animates her study. She illuminates Molière, the glory of his age, with authentic insight and deep learning." -Harold Bloom, YaleUniversity "This is a thoroughly researched, carefully reasoned, and engagingly written study of an important topic. Within the familiar context of the spoken comic drama, ideas are introduced that carry forward into the progressively less familiar material: first the single-sex school performances, of which we can recapture the dynamics without too great a stretch of the imagination; then the court ballet, which is truly a form alien to the modern reader. The last chapter deals with opera, which in one way is an excursion into even stranger territory, since most of the discussion is set against the background of the castrato - certainly the most extreme form of altering the male performer to project a female character. The study is a timely one and it makes an important contribution to the field." - Roger W. Herzel, Indiana University 'In this innovative and engagingly written study, Prest covers ballet and opera as well as spoken plays. Her range encompasses the history, principles and practices of religious school performances and court performances as well as those of the commercial theatre. She is a sure guide, and her analysis of comedy, eroticism, sexual ambiguities, and the courtly ideal is outstanding. Prest's impressive knowledge of the original texts, contemporary polemic, and a wide range of modern critical thinking enables her to present insights and discoveries that will change the way we see seventeenth-century performance practice.' - William Brooks, University of Bath, "Prest'sTheatre under Louis XIVmasterfully studies drama, opera, and ballet under the Sun King. Gender ambiguity on the stage is now in danger of becoming a hackneyed and ideological cavalcade, but Prest rigorously makes it new. Like audiences, Prest knows that men and women are biologically different, and her shrewd awareness animates her study. She illuminates Moliere, the glory of his age, with authentic insight and deep learning." -Harold Bloom, Yale University "This is a thoroughly researched, carefully reasoned, and engagingly written study of an important topic. Within the familiar context of the spoken comic drama, ideas are introduced that carry forward into the progressively less familiar material: first the single-sex school performances, of which we can recapture the dynamics without too great a stretch of the imagination; then the court ballet, which is truly a form alien to the modern reader. The last chapter deals with opera, which in one way is an excursion into even stranger territory, since most of the discussion is set against the background of the castrato -- certainly the most extreme form of altering the male performer to project a female character. The study is a timely one and it makes an important contribution to the field."--Roger W. Herzel, Indiana University "In this innovative and engagingly written study, Prest covers ballet and opera as well as spoken plays. Her range encompasses the history, principles and practices of religious school performances and court performances as well as those of the commercial theatre. She is a sure guide, and her analysis of comedy, eroticism, sexual ambiguities, and the courtly ideal is outstanding. Prest's impressive knowledge of the original texts, contemporary polemic, and a wide range of modern critical thinking enables her to present insights and discoveries that will change the way we see seventeenth-century performance practice."--William Brooks, University of Bath "This concise, well-crafted, multifaceted volume offers a refreshingly original approach to performance practices in early modern France. At the end of this thoroughly researched and illuminating study, Prest explains how French baroque opera, established in opposition to the Italian musical tradition, rejected the most complex figure associated with cross-casting: the castrato." --Choice, "Prest's Theatre under Louis XIV masterfully studies drama, opera, and ballet under the Sun King. Gender ambiguity on the stage is now in danger of becoming a hackneyed and ideological cavalcade, but Prest rigorously makes it new. Like audiences, Prest knows that men and women are biologically different, and her shrewd awareness animates her study. She illuminates Molière, the glory of his age, with authentic insight and deep learning." -Harold Bloom, Yale University "This is a thoroughly researched, carefully reasoned, and engagingly written study of an important topic. Within the familiar context of the spoken comic drama, ideas are introduced that carry forward into the progressively less familiar material: first the single-sex school performances, of which we can recapture the dynamics without too great a stretch of the imagination; then the court ballet, which is truly a form alien to the modern reader. The last chapter deals with opera, which in one way is an excursion into even stranger territory, since most of the discussion is set against the background of the castrato -- certainly the most extreme form of altering the male performer to project a female character. The study is a timely one and it makes an important contribution to the field."--Roger W. Herzel, Indiana University "In this innovative and engagingly written study, Prest covers ballet and opera as well as spoken plays. Her range encompasses the history, principles and practices of religious school performances and court performances as well as those of the commercial theatre. She is a sure guide, and her analysis of comedy, eroticism, sexual ambiguities, and the courtly ideal is outstanding. Prest's impressive knowledge of the original texts, contemporary polemic, and a wide range of modern critical thinking enables her to present insights and discoveries that will change the way we see seventeenth-century performance practice."--William Brooks, University of Bath "This concise, well-crafted, multifaceted volume offers a refreshingly original approach to performance practices in early modern France. At the end of this thoroughly researched and illuminating study, Prest explains how French baroque opera, established in opposition to the Italian musical tradition, rejected the most complex figure associated with cross-casting: the castrato." -- Choice , "Prest'sTheatre under Louis XIVmasterfully studies drama, opera, and ballet under the Sun King. Gender ambiguity on the stage is now in danger of becoming a hackneyed and ideological cavalcade, but Prest rigorously makes it new. Like audiences, Prest knows that men and women are biologically different, and her shrewd awareness animates her study. She illuminates Molière, the glory of his age, with authentic insight and deep learning." -Harold Bloom, Yale University "This is a thoroughly researched, carefully reasoned, and engagingly written study of an important topic. Within the familiar context of the spoken comic drama, ideas are introduced that carry forward into the progressively less familiar material: first the single-sex school performances, of which we can recapture the dynamics without too great a stretch of the imagination; then the court ballet, which is truly a form alien to the modern reader. The last chapter deals with opera, which in one way is an excursion into even stranger territory, since most of the discussion is set against the background of the castrato -- certainly the most extreme form of altering the male performer to project a female character. The study is a timely one and it makes an important contribution to the field."--Roger W. Herzel, Indiana University "In this innovative and engagingly written study, Prest covers ballet and opera as well as spoken plays. Her range encompasses the history, principles and practices of religious school performances and court performances as well as those of the commercial theatre. She is a sure guide, and her analysis of comedy, eroticism, sexual ambiguities, and the courtly ideal is outstanding. Prest's impressive knowledge of the original texts, contemporary polemic, and a wide range of modern critical thinking enables her to present insights and discoveries that will change the way we see seventeenth-century performance practice."--William Brooks, University of Bath "This concise, well-crafted, multifaceted volume offers a refreshingly original approach to performance practices in early modern France. At the end of this thoroughly researched and illuminating study, Prest explains how French baroque opera, established in opposition to the Italian musical tradition, rejected the most complex figure associated with cross-casting: the castrato." --Choice , "Prest'sTheatre under Louis XIVmasterfully studies drama, opera, and ballet under the Sun King. Gender ambiguity on the stage is now in danger of becoming a hackneyed and ideological cavalcade, but Prest rigorously makes it new. Like audiences, Prest knows that men and women are biologically different, and her shrewd awareness animates her study. She illuminates Molière, the glory of his age, with authentic insight and deep learning." -Harold Bloom, Yale University "This is a thoroughly researched, carefully reasoned, and engagingly written study of an important topic. Within the familiar context of the spoken comic drama, ideas are introduced that carry forward into the progressively less familiar material: first the single-sex school performances, of which we can recapture the dynamics without too great a stretch of the imagination; then the court ballet, which is truly a form alien to the modern reader. The last chapter deals with opera, which in one way is an excursion into even stranger territory, since most of the discussion is set against the background of the castrato -- certainly the most extreme form of altering the male performer to project a female character. The study is a timely one and it makes an important contribution to the field."--Roger W. Herzel, Indiana University "In this innovative and engagingly written study, Prest covers ballet and opera as well as spoken plays. Her range encompasses the history, principles and practices of religious school performances and court performances as well as those of the commercial theatre. She is a sure guide, and her analysis of comedy, eroticism, sexual ambiguities, and the courtly ideal is outstanding. Prest's impressive knowledge of the original texts, contemporary polemic, and a wide range of modern critical thinking enables her to present insights and discoveries that will change the way we see seventeenth-century performance practice."--William Brooks, University of Bath , "Prest's "Theatre under Louis XIV" masterfully studies drama, opera, and ballet under the Sun King. Gender ambiguity on the stage is now in danger of becoming a hackneyed and ideological cavalcade, but Prest rigorously makes it new. Like audiences, Prest knows that men and women are biologically different, and her shrewd awareness animates her study. She illuminates Moliere, the glory of his age, with authentic insight and deep learning." -Harold Bloom, Yale University "This is a thoroughly researched, carefully reasoned, and engagingly written study of an important topic. Within the familiar context of the spoken comic drama, ideas are introduced that carry forward into the progressively less familiar material: first the single-sex school performances, of which we can recapture the dynamics without too great a stretch of the imagination; then the court ballet, which is truly a form alien to the modern reader. The last chapter deals with opera, which in one way is an excursion into even stranger territory, since most of the discussion is set against the background of the castrato -- certainly the most extreme form of altering the male performer to project a female character. The study is a timely one and it makes an important contribution to the field."--Roger W. Herzel, Indiana University "In this innovative and engagingly written study, Prest covers ballet and opera as well as spoken plays. Her range encompasses the history, principles and practices of religious school performances and court performances as well as those of the commercial theatre. She is a sure guide, and her analysis of comedy, eroticism, sexual ambiguities, and the courtly ideal is outstanding.Prest's impressive knowledge of the original texts, contemporary polemic, and a wide range of modern critical thinking enables her to present insights and discoveries that will change the way we see seventeenth-century performance practice."--William Brooks, University of Bath "This concise, well-crafted, multifaceted volume offers a refreshingly original approach to performance practices in early modern France. At the end of this thoroughly researched and illuminating study, Prest explains how French baroque opera, established in opposition to the Italian musical tradition, rejected the most complex figure associated with cross-casting: the castrato." --"Choice", "Prest's Theatre under Louis XIV masterfully studies drama, opera, and ballet under the Sun King. Gender ambiguity on the stage is now in danger of becoming a hackneyed and ideological cavalcade, but Prest rigorously makes it new. Like audiences, Prest knows that men and women are biologically different, and her shrewd awareness animates her study. She illuminates Moli re, the glory of his age, with authentic insight and deep learning." -Harold Bloom, Yale University "This is a thoroughly researched, carefully reasoned, and engagingly written study of an important topic. Within the familiar context of the spoken comic drama, ideas are introduced that carry forward into the progressively less familiar material: first the single-sex school performances, of which we can recapture the dynamics without too great a stretch of the imagination; then the court ballet, which is truly a form alien to the modern reader. The last chapter deals with opera, which in one way is an excursion into even stranger territory, since most of the discussion is set against the background of the castrato -- certainly the most extreme form of altering the male performer to project a female character. The study is a timely one and it makes an important contribution to the field."--Roger W. Herzel, Indiana University "In this innovative and engagingly written study, Prest covers ballet and opera as well as spoken plays. Her range encompasses the history, principles and practices of religious school performances and court performances as well as those of the commercial theatre. She is a sure guide, and her analysis of comedy, eroticism, sexual ambiguities, and the courtly ideal is outstanding. Prest's impressive knowledge of the original texts, contemporary polemic, and a wide range of modern critical thinking enables her to present insights and discoveries that will change the way we see seventeenth-century performance practice."--William Brooks, University of Bath "This concise, well-crafted, multifaceted volume offers a refreshingly original approach to performance practices in early modern France. At the end of this thoroughly researched and illuminating study, Prest explains how French baroque opera, established in opposition to the Italian musical tradition, rejected the most complex figure associated with cross-casting: the castrato." -- Choice, "Prest's Theatre under Louis XIV masterfully studies drama, opera, and ballet under the Sun King. Gender ambiguity on the stage is now in danger of becoming a hackneyed and ideological cavalcade, but Prest rigorously makes it new. Like audiences, Prest knows that men and women are biologically different, and her shrewd awareness animates her study. She illuminates Molière, the glory of his age, with authentic insight and deep learning." -Harold Bloom, Yale University "This is a thoroughly researched, carefully reasoned, and engagingly written study of an important topic. Within the familiar context of the spoken comic drama, ideas are introduced that carry forward into the progressively less familiar material: first the single-sex school performances, of which we can recapture the dynamics without too great a stretch of the imagination; then the court ballet, which is truly a form alien to the modern reader. The last chapter deals with opera, which in one way is an excursion into even stranger territory, since most of the discussion is set against the background of the castrato -- certainly the most extreme form of altering the male performer to project a female character. The study is a timely one and it makes an important contribution to the field."--Roger W. Herzel, Indiana University "In this innovative and engagingly written study, Prest covers ballet and opera as well as spoken plays. Her range encompasses the history, principles and practices of religious school performances and court performances as well as those of the commercial theatre. She is a sure guide, and her analysis of comedy, eroticism, sexual ambiguities, and the courtly ideal is outstanding. Prest's impressive knowledge of the original texts, contemporary polemic, and a wide range of modern critical thinking enables her to present insights and discoveries that will change the way we see seventeenth-century performance practice."--William Brooks, University of Bath "This concise, well-crafted, multifaceted volume offers a refreshingly original approach to performance practices in early modern France. At the end of this thoroughly researched and illuminating study, Prest explains how French baroque opera, established in opposition to the Italian musical tradition, rejected the most complex figure associated with cross-casting: the castrato." --Choice , "Prest's Theatre under Louis XIV masterfully studies drama, opera, and ballet under the Sun King. Gender ambiguity on the stage is now in danger of becoming a hackneyed and ideological cavalcade, but Prest rigorously makes it new. Likeaudiences, Prest knows that men and women are biologically different, and her shrewd awareness animates her study. She illuminates Molire, the glory of his age, with authentic insight and deep learning." -Harold Bloom, YaleUniversity "This is a thoroughly researched, carefully reasoned, and engagingly written study of an important topic. Within the familiar context of the spoken comic drama, ideas are introduced that carry forward into the progressively less familiar material: first the single-sex school performances, of which we can recapture the dynamics without too great a stretch of the imagination; then the court ballet, which is truly a form alien to the modern reader. The last chapter deals with opera, which in one way is an excursion into even stranger territory, since most of the discussion is set against the background of the castrato - certainly the most extreme form of altering the male performer to project a female character. The study is a timely one and it makes an important contribution to the field." - Roger W. Herzel, Indiana University 'In this innovative and engagingly written study, Prest covers ballet and opera as well as spoken plays. Her range encompasses the history, principles and practices of religious school performances and court performances as well as those of the commercial theatre. She is a sure guide, and her analysis of comedy, eroticism, sexual ambiguities, and the courtly ideal is outstanding. Prest's impressive knowledge of the original texts, contemporary polemic, and a wide range of modern critical thinking enables her to present insights and discoveries that will change the way we see seventeenth-century performance practice.' - William Brooks, University of Bath
Dewey Edition
22
Number of Volumes
1 vol.
Illustrated
Yes
Dewey Decimal
791.0944/09032
Table Of Content
Cross-Dressing and Cross-Casting Unattractive Women: Cross-Casting in Comedy Boys Will Be Girls: Cross-Casting in School Drama Female Roles in Court Ballet I: Men Playing Women Female Roles in Court Ballet II: Women Playing Women Cross-Casting and Gender Ambiguity in Opera
Synopsis
This book explores the fascinating phenomenon of cross-casting and related gender issues in different theatrical genres and different performance contexts during the heyday of French theatre. Although professional acting troupes under Louis XIV were mixed, cross-casting remained an important feature of French court ballet (in which the King himself performed a number of women's roles) and an occasional feature of spoken comedy and tragic opera. Cross-casting also persisted out of necessity in the school drama of the period. This book fills an important gap in the history of French theatre and provides new insight into wider theoretical questions of gender and theatricality. The inclusion of chapters on ballet and opera (as well as spoken drama) opens up the richness of French theatre under Louis XIV in a way that has not been achieved before.
LC Classification Number
PN2100-2193
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- 1***d (1575)- Feedback left by buyer.Past monthVerified purchaseGreat seller. Impeccable service, book was described accurately, shipped out quickly. Thanks.
- 0***2 (1183)- Feedback left by buyer.Past monthVerified purchaseGood quality arrived well packaged and and in excellent condition. Rapid delivery and reasonably priced.
- e***e (1036)- Feedback left by buyer.Past monthVerified purchaseAwesome seller. ⭐️
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Seller feedback (123)
- 1***d (1575)- Feedback left by buyer.Past monthVerified purchaseGreat seller. Impeccable service, book was described accurately, shipped out quickly. Thanks.
- 0***2 (1183)- Feedback left by buyer.Past monthVerified purchaseGood quality arrived well packaged and and in excellent condition. Rapid delivery and reasonably priced.
- e***e (1036)- Feedback left by buyer.Past monthVerified purchaseAwesome seller. ⭐️