Studies in the English Pantomime, 1712-1733 (Wendy Hilton Dance and Music)
| Author | : | |
| Rating | : | 4.47 (960 Votes) |
| Asin | : | 1576472779 |
| Format Type | : | paperback |
| Number of Pages | : | 208 Pages |
| Publish Date | : | 2017-03-22 |
| Language | : | English |
DESCRIPTION:
In 2005, he was selected by the Fulbright Association to present the Selma Jeanne Cohen International Dance Scholarship lecture. He received both a BMus (1973) and MMus (1975) from the University of British Columbia and was awarded a PhD in musicology from the early music performance program at Stanford University in 1980. Semmens also directs the Faculty's Early Music Studio, a student ensemble specializing in the historically informed perform
The final study of the book considers how a new comic pantomime by Theophilus Cibber, and a serious one by John Weaver became enmeshed at Drury Lane in 1733, and argues that the combination of these two entertainments in a single afterpiece was informed, in part, by the structure of Harlequin Doctor Faustus.. While interest in pantomime entertainments in eighteenth-century England has grown considerably over the past three decades, few studies among the many excellent ones that have appeared have paid concentrated attention to music and dancing. It pays particular attention to his long-lived interest in comic dancing, not only as practised by the "ancients," but in his own work for the London stages, as well, as both choreographer and performer. A close examination of the rival production at Lincoln's Inn Fields, Lewis Theobald's Harlequin Doctor Faustus; or, The Necromancer, is the task of the third essay. This book aims, among other things, to rectify that situation. Because the two rival productions attracted enormous interest among audiences, commentators, and critics of the time, the fourth study of the book considers how disparate entertainment types-musical theatre, masquerades, and magic shows, for example-were significant elements in what the critics noticed about the Faustus pantomimes, and their unprecedented success. The first chapter contextualizes the significant contributions of the pioneerin
Semmens has offered a wide range of courses in music history, including topics in medieval, Renaissance, 17th- and 18th-century music, earlier musical notations, and performance practices. Semmens also directs the Faculty's Early Music Studio, a student ensemble specializing in the historically informed performance of music from the late 16th to late 18th centuries on copies of period instruments. . He received both a BMus (1973) and MMus (1975) from the University of British Columbia and was awarded a PhD in musicology from the early music performance program at Stanford University in 1980. About the Author Richard Semmens, PhD, is professor of music history, specializing in music and dance of the baroque period at Western University, Canada. He focuses his research on the theory and practice of music and dance of France and Engl