{"id":8562,"date":"2022-05-23T16:21:17","date_gmt":"2022-05-23T07:21:17","guid":{"rendered":"https:\/\/www.waseda.jp\/inst\/cro\/?p=8562"},"modified":"2022-05-23T16:23:09","modified_gmt":"2022-05-23T07:23:09","slug":"report-of-monthly-regular-meeting-may-2022-the-202nd-meeting-of-opera-research-group","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/inst\/cro\/news-en\/2022\/05\/23\/8562\/","title":{"rendered":"Report of Monthly Regular Meeting May 2022 (The 202nd Meeting of Opera Research Group)"},"content":{"rendered":"<h3>Report of Monthly Regular Meeting May 2022 (The 202nd Meeting of Opera Research Group)<\/h3>\n<p>Waseda Institute for Research in Opera and Music Theatre (WIROM), Comprehensive Research Organization, Waseda University<\/p>\n<ul style=\"list-style-type: square;\">\n<li>Time and Date : May 14th (Sat.) 2022, 16:30-18:10 (JST)<\/li>\n<li>Format : Online meeting (Zoom)<\/li>\n<li>Presenter : MORI, Yoshiko<\/li>\n<li>Affiliation, Position : Lecturer (Waseda University)<\/li>\n<li>Title : \u201cLe grand op\u00e9ra de Paris au 19e si\u00e8cle et les m\u00e9dias\u201d<\/li>\n<li>Language : Japanese<\/li>\n<li>Abstract :<br \/>\nLe grand op\u00e9ra est un des genres qui ont \u00e9t\u00e9 cr\u00e9\u00e9s \u00e0 l\u2019Op\u00e9ra de Paris dans les ann\u00e9es 1830 et 1840. La Muette de Portici d\u2019Auber (1828) en est la premi\u00e8re \u0153uvre repr\u00e9sentative, et Guillaume Tell de Rossini (1829), la deuxi\u00e8me.<br \/>\nIl semble que la premi\u00e8re repr\u00e9sentation de La Muette de Portici ait \u00e9t\u00e9 un des motifs de la R\u00e9volution de juillet et de la R\u00e9volution belge. Nous pouvons dire que celle-ci et Guillaume Tell ont refl\u00e9t\u00e9 la soci\u00e9t\u00e9 de l\u2019\u00e9poque de la Restauration et beaucoup influenc\u00e9 leurs spectateurs. Nous consid\u00e9rons donc que ces repr\u00e9sentations ont rappel\u00e9 la R\u00e9volution de 1789 \u00e0 leurs spectateurs \u00e0 l\u2019occasion de la nouvelle r\u00e9volution de 1830, et qu\u2019elles remplissaient inconsciemment un r\u00f4le politique de \u00ab m\u00e9dia th\u00e9\u00e2tral \u00bb de cette \u00e9poque-l\u00e0.<br \/>\nCette hypoth\u00e8se se r\u00e9v\u00e8le en analysant les tableaux des finales. Le nom de \u00ab tableau \u00bb se donne de par l&#8217;effet plastique et pittoresque produit, \u00e0 la fin d&#8217;un acte d\u2019un m\u00e9lodrame ou d\u2019un op\u00e9ra. Nous tenterons donc d\u2019\u00e9lucider la fa\u00e7on dont ces tableaux m\u00e9diatiques ont influenc\u00e9 les spectateurs en nous r\u00e9f\u00e9rant \u00e0 l\u2019\u00e9tude de ces finales.<\/li>\n<\/ul>\n<ul style=\"list-style-type: square;\">\n<li>Profile of Presenter :<br \/>\nYoshiko Mori is a lecturer at Waseda University. She studied musicology at l\u2019universit\u00e9 de Paris IV, and has a PhD from Waseda University (Her thesis focused on the \u2018Op\u00e9rette-f\u00e9erie\u2019 by Offenbach). She is the author of The Beginning of Operetta: Offenbach and Modern Japan (2017), the co-editor of Handbook for Opera and Music Theatre Studies-Reading Keywords (2017), Theater and Music (2020). Special research fields: opera, operetta in France.<\/li>\n<li>Moderator : SATO, Suguru<\/li>\n<\/ul>\n<p>\uff0aComment: There were 46 participants.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Report of Monthly Regular Meeting May 2022 (The 202nd Meeting of Opera Research Group) Waseda Institute for Re [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":7834,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[95],"tags":[87,82,73],"class_list":["post-8562","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en","tag-arts-en","tag-events-en","tag-research-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/8562","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/comments?post=8562"}],"version-history":[{"count":1,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/8562\/revisions"}],"predecessor-version":[{"id":8564,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/8562\/revisions\/8564"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media\/7834"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media?parent=8562"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/categories?post=8562"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/tags?post=8562"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}