Relevance and Marginalisation in Scandinavian and European Performing Arts 1770–1860
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Relevance and Marginalisation in Scandinavian and European Performing Arts 1770–1860: Questioning Canons reveals how various cultural processes have influenced what has been included, and what has been marginalised from canons of European music, dance and theatre around the turn of the nineteenth century and the following decades.
This collection of essays includes discussion of the piano repertory for young ladies in England; canonisation of the French minuet; marginalisation of the popular German dramatist Kotzebue from the dramatic canon; dance repertory and social life in Christiania (Oslo); informal cultural activities in Trondheim; repertory of Norwegian musical clocks; female itinerant performers in the Nordic sphere; preconditions, dissemination, and popularity of equestrian drama; marginalisation and amateur staging of a Singspiel by the renowned Danish playwright Oehlenschläger, with perspectives on the music and its composers; and the perceived relevance of Henrik Ibsen’s staged theatre repertory and early dramas.
By questioning established notions about canon, marginalisation, and relevance within the performing arts in the period 1770–1860, this book asserts itself as an intriguing text both to the culturally interested public and to scholars and students of musicology, dance research, and theatre studies.
Table of Contents
Chapter 1: Svein Gladsø: ‘The (pre)History of Canons’; Chapter 2: Penelope Cave: ‘Meeting the Masters: Repertoire Choices for Young Ladies’; Chapter 3: Dóra Kiss: ‘Canonisation of the Danced Minuet: A Process of Several Centuries’; Chapter 4: Meike Wagner: ‘On the Other Side of the Canon: August von Kotzebue as Popular Playwright and Controversial Public Persona’; Chapter 5: Elizabeth Svarstad: ‘Traces of Dance and Social Life: A Dance Book and its Context’; Chapter 6: Eva Hov: ‘Outside Canon: Anonymous Music and Informal Cultural Activities in Trondheim around 1800’; Chapter 7: Mats Krouthén: ‘Repertory on Norwegian Eighteenth Century Musical Clocks’; Chapter 8: Anne Margrete Fiskvik: ‘Itinerant Female Performers in the Nordic Sphere’; Chapter 9: Ellen Karoline Gjervan: ‘The Hybrid Child: The Preconditions, Dissemination and Enduring Popularity of Equestrian Drama’; Chapter 10 Maria-Christina Mur: ‘Vittorio Alfieri’s Tramelogedia Abele: A Physiognomic Reading of a Marginalised Play by a Canonic Author’; Chapter 11 Annabella Skagen: ‘Oehlenschlager’s Freyas Altar: A Rejected Singspiel Performed’; Chapter 12 Randi Margrete Selvik: ‘Freyas Altar: Early Norwegian Performances’ Forgotten Music and their Composers’; Chapter 13 Jon Nygaard: ‘Re-Searching the Relevance of Ibsen’s Theatre Repertory 1852–1862’
Randi Margrete Selvik is Professor Emeritus in musicology, Department of Music, NTNU, Trondheim. Her primary research interests are music history from the seventeenth to the early nineteenth centuries, with French baroque opera, Nordic Singspiel and musical dilettantism in Norway as important focus areas.
Annabella Skagen is Senior Curator at Ringve Music Museum in Trondheim, Norway. She holds a PhD in theatre studies from NTNU, Trondheim (2015). Her main research interests are theatre and music history in the eighteenth and nineteenth centuries, centering around performative practices within the contexts of politics, sociability, and identity.
Svein Gladsø is Professor Emeritus in theatre studies, Department of Art and Media Studies, NTNU, Trondheim. His main research interests are theatre history, dramaturgy, theatre politics, and theatre theory. He has been chair of the Association of Nordic Theatre Scholars and editor of Nordic Theatre Studies.