BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news483@english.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20230922T150602 DTSTART;TZID=Europe/Zurich:20231012T101500 SUMMARY:Terpsichore crossing the Channel (or not): From Molière to Ravensc roft and from Weaver to Noverre DESCRIPTION:In late 17th- and early 18th-century London\, English versions of the comédie-ballets by Molière and Lully were received with great app lause. Yet translators had necessarily converted the rhythm\, rhyme\, and song of the French plays\, which is why most of Lully’s tunes seem to ha ve been lost in translation\, and replaced by newly composed songs. Discus sing Edward Ravenscroft’s The Citizen Turn’d Gentleman (1671/72)\, as well as 18th-century revivals of Le Bourgeois gentilhomme and its “Turki sh Ceremony” in London\, the first part of this lecture examines source evidence suggesting that in this case some of Lully’s vocal and instrume ntal movements may well have survived crossing the Channel – and it also reveals that Ravenscroft must have been able to draw on eyewitness accoun ts of Lully as an on-stage performer in both Monsieur de Pourceaugnac (166 9) and Le Bourgeois gentilhomme (1670).\\r\\nThe second part of the lectur e is dedicated to another example of French-English exchange\, namely to J ean-Georges Noverre’s Lettres sur la danse\, et sur les Ballets\, writte n in London in 1756 and published in Stuttgart and Lyon in 1760. These Let ters\, published in English as The Works of Monsieur Noverre translated fr om the French in 1782\, are a particularly rich source for research into e ighteenth-century ballet en action (pantomime ballet). The treatise marks a new era of theatrical dance\, influenced by the innovations developed by John Weaver (gestures and drama)\, Marie Sallé (‘naturalness’ in dan ce)\, David Garrick (acting and mime)\, and Jean-Philippe Rameau (tone pai nting). X-ALT-DESC:

In late 17th- and early 18th-century Lo ndon\, English versions of the comédie-ballets by Molière and Lully were received with great applause. Yet translators had necessarily converted t he rhythm\, rhyme\, and song of the French plays\, which is why most of Lu lly’s tunes seem to have been lost in translation\, and replaced by newl y composed songs. Discussing Edward Ravenscroft’s The Citizen Turn ’d Gentleman (1671/72)\, as well as 18th-century revival s of Le Bourgeois gentilhomme and its “Turkish Ceremony” in L ondon\, the first part of this lecture examines source evidence suggesting that in this case some of Lully’s vocal and instrumental movements may well have survived crossing the Channel – and it also reveals that Raven scroft must have been able to draw on eyewitness accounts of Lully as an o n-stage performer in both Monsieur de Pourceaugnac (1669) and Le Bourgeois gentilhomme (1670).

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The second part of the lect ure is dedicated to another example of French-English exchange\, namely to Jean-Georges Noverre’s Lettres sur la danse\, et sur les Ballets\,< /em> written in London in 1756 and published in Stuttgart and Lyon in 1760 . These Letters\, published in English as The Works of Monsie ur Noverre translated from the French in 1782\, are a particularly ri ch source for research into eighteenth-century ballet en action (pantomime ballet). The treatise marks a new era of theatrical dance\, influenced by the innovations developed by John Weaver (gestures and drama)\, Marie Sal lé (‘naturalness’ in dance)\, David Garrick (acting and mime)\, and J ean-Philippe Rameau (tone painting).

DTEND;TZID=Europe/Zurich:20231012T120000 END:VEVENT END:VCALENDAR