|
|
|
|
|
Leader |
LDR
|
|
pam i 00 |
|
Control # |
1
|
|
2021032886 |
|
Control # Id |
3
|
|
DLC |
|
Date |
5
|
|
20220808095304.0 |
|
Fixed Data |
8
|
|
210702s2022 ilua bkq 001 0 eng |
|
LC Card |
10
|
|
$a 2021032886 |
|
ISBN |
20
|
|
$a9780226815411$q(cloth) |
|
ISBN |
20
|
|
$z9780226815428$q(ebook) |
|
Obsolete |
39
|
|
$a331305$cTLC |
|
Cat. Source |
40
|
|
$aICU/DLC$beng$erda$cDLC$dDLC$dGCG |
|
Authen. Ctr. |
42
|
|
$apcc |
|
LC Call |
50
|
00 |
$aML410.M9$bW6218 2022 |
|
Dewey Class |
82
|
00 |
$a782.1$223 |
|
ME:Pers Name |
100
|
1 |
$aWill, Richard James,$eauthor. |
|
Title |
245
|
10 |
$aDon Giovanni captured :$bperformance, media, myth /$cRichard Will. |
|
Tag 264 |
264
|
1 |
$aChicago :$bThe University of Chicago Press,$c2022. |
|
Phys Descrpt |
300
|
|
$axii, 301 pages :$billustrations ;$c23 cm. |
|
Tag 336 |
336
|
|
$atext$btxt$2rdacontent |
|
Tag 337 |
337
|
|
$aunmediated$bn$2rdamedia |
|
Tag 338 |
338
|
|
$avolume$bnc$2rdacarrier |
|
Series:Diff |
490
|
1 |
$aOpera lab: explorations in history, technology, and performance |
|
Note:General |
500
|
|
$aIncludes discography and videoography. |
|
Note:Bibliog |
504
|
|
$aIncludes bibliographical references (pages 279-291) and index. |
|
Note:Content |
505
|
0 |
$aPart I. Clouds of feeling: excerpt audio recordings -- Imagining excerpts -- Rhetorics of seduction -- Demons and dandies -- All too human -- Part II. Invented works : complete audio records -- The visual stage -- Cruel laughter -- Dancing in time -- Part III. Partial visions : video recordings -- Zooming in, gazing back -- Trauma retold -- Libertines punished. |
|
Abstract |
520
|
|
$a"With "Don Giovanni" Captured, Richard Will takes on the challenge of considering a single opera through engagement with its entire history of recorded performance, encompassing both audio recordings (starting with wax cylinders and 78s) and video recordings, from DVDs, to films, to streaming videos. Recorded opera has become a genre unto itself, connected with actual stage productions but with its own history and conventions. Today, recordings and other forms of mediation inform our experience of live opera as much as the other way around. Seen as a historical record, opera recordings are also a potent reminder of the refusal of works such as Mozart's Don Giovanni to sit still, and the tremendous transformation they undergo from performance to performance, and from generation to generation. By choosing an opera with such a rich and complex tradition of interpretation, Will helps us see Don Giovanni as much more than the tale of a single libertine aristocrat and as a standard-bearer for changing myths about eros and for how we socialize (and represent in performance) sexual and power relations that run the gamut from seduction, to predatoriness, to rape."--$cProvided by publisher. |
|
Subj:Pers |
600
|
10 |
$aMozart, Wolfgang Amadeus,$d1756-1791.$tDon Giovanni. |
|
Subj:Pers |
600
|
10 |
$aMozart, Wolfgang Amadeus,$d1756-1791$xPerformances. |
|
Subj:Pers |
600
|
10 |
$aMozart, Wolfgang Amadeus,$d1756-1791$vDiscography. |
|
Subj:Topical |
650
|
0 |
$aOpera$xProduction and direction$xHistory. |
|
Subj:Topical |
650
|
0 |
$aOperas$vDiscography. |
|
Subj:Topical |
650
|
0 |
$aOperas$vFilm catalogs. |
|
Subj:Topical |
650
|
0 |
$aOperas$vFilm adaptations. |
|
SE:Ufm Title |
830
|
0 |
$aOpera lab. |
|
Elec Loc'n |
856
|
42 |
$ySupplementary audio and visual content available on companion website.$uhttps://press.uchicago.edu/sites/will |
