Titlebook: National Theatres in a Changing Europe; S. E. Wilmer (Associate Professor of Drama and a F Book 2008 Palgrave Macmillan, a division of Mac

一罵死割除

National Theatres: Then and Nowg so provide interesting insights into how the ideas of nationhood and of theatre operate in different times and different places. Although my remarks will focus on the National Theatre in Europe, I will also look more briefly at some of the ways this essentially European idea was interpreted outsid

REIGN

The National Stage and the Naturalized House: (Trans)National Legitimation in Modern Europe tried to cultivate national consciousness through the creation of a national repertoire as opposed to the internationally dominant French comedy and Italian opera, a broad national audience as opposed to an aristocratic coterie, and a stable public institution in a capital or would-be capital city,

鎮(zhèn)壓

Towards a History of National Theatres in Europe an important qualifier; some states ignored their people to begin theatres as a part of their political (often imperial) agendas and many national cultures have maintained theatres that had little connection to real or hoped-for statehood. In my view, connecting National Theatres to the rise and de

LITHE

Insulin

2947-4949 tutions encounter today, in an environment where nationalism and national identity are increasingly contested by global, transnational and local agendas, and where economic forces create conflicting demands.978-1-349-35610-2978-0-230-58291-0Series ISSN 2947-4949 Series E-ISSN 2947-4957

彎腰

The Development of National Theatres in Europe in the Eighteenth and Nineteenth Centuriesement that led to the creation of National Theatres, the ideologies that underlay it, and some of the processes inherent in it. I want to look first at their origins in the seventeenth and eighteenth centuries and then consider more closely the nineteenth-century developments that were allied to the rise of nationalism.

啟發(fā)

Introductionnd eighteenth centuries as royally established institutions to entertain the elite with plays, operas, and ballets that reflected their aristocratic values. With the advent of the Hamburg National Theatre in 1767, a new concept developed of a municipal theatre to educate the bourgeoisie and help ins

慷慨不好

The Development of National Theatres in Europe in the Eighteenth and Nineteenth Centuriesal Theatres being created in the last decade, for example, in Spain, Hungary, Slovenia, and Scotland. In this chapter I want to review the general movement that led to the creation of National Theatres, the ideologies that underlay it, and some of the processes inherent in it. I want to look first a

inhibit

National Theatres: Then and Nowcross nationalities and cultures, when we consider individual usages we find that there are almost as many varieties of National Theatre as there are National Theatres themselves. There is certainly a general consensus of opinion about what a National Theatre is, but even the best known National The

放大

The National Stage and the Naturalized House: (Trans)National Legitimation in Modern Europe century, have more often than not preceded the nation-states that they claimed to represent. The leaders of these movements and institutions were usually actor-managers whose social status was ambiguous, or intellectuals who, as members of the educated middle classes, lacked political representatio