L'art sous la contrainte?
La programmation du répertoire sur le théâtre de l'Académie royale de musique au siècle des Lumières
Identifieur interne : 000642 ( France/Analysis ); précédent : 000641; suivant : 000643
L'art sous la contrainte?
La programmation du répertoire sur le théâtre de l'Académie royale de musique au siècle des Lumières
Auteurs : Solveig Serre [France]Source :
- Revue de musicologie [ 0035-1601 ] ; 2008.
Descripteurs français
- mix :
Abstract
In the 18th century, the Paris Opera was considered as the first of all French theaters. Not only did it have the privilege of musical performances for the whole of France, but it also embodied a style and had become a symbol for the music of the nation. Considering the political and social angle, the Royal Academy was a power issue as well as a huge company that spent tremendous amounts of money, hired numerous people and was very much appreciated by the Parisian audience.
Yet, the Paris Opera looked like a very strange object. Being an academy with no real members, its legal status made it resemble any other French theaters. The descriptions made by contemporary writers often give a very negative image of an institution permanently fighting to overcome the structural administrative problems and trying to balance its receipts and expenses. This paradox can be found in the programming of the repertoire, the word "programming" meaning both the general organization of a theatrical year and the manner the plays are spread out over the different lyrical seasons. In fact, even if the academy had much power, it was submitted to a lot of pressure, was obliged to follow the regular customs in the programming of the lyrical seasons and was supposed to put forward a programming policy that could be adapted to any circumstances and needs.
Under those conditions, program planning was worth thinking about and required reasonable risk taking. This used to unsettle the freedom of art which fluctuated and was totally depending on the opera managers' personalities.
Yet, the Paris Opera looked like a very strange object. Being an academy with no real members, its legal status made it resemble any other French theaters. The descriptions made by contemporary writers often give a very negative image of an institution permanently fighting to overcome the structural administrative problems and trying to balance its receipts and expenses. This paradox can be found in the programming of the repertoire, the word "programming" meaning both the general organization of a theatrical year and the manner the plays are spread out over the different lyrical seasons. In fact, even if the academy had much power, it was submitted to a lot of pressure, was obliged to follow the regular customs in the programming of the lyrical seasons and was supposed to put forward a programming policy that could be adapted to any circumstances and needs.
Under those conditions, program planning was worth thinking about and required reasonable risk taking. This used to unsettle the freedom of art which fluctuated and was totally depending on the opera managers' personalities.
Url:
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream Hal, to step Corpus: 000565
- to stream Hal, to step Curation: 000565
- to stream Hal, to step Checkpoint: 000630
- to stream Main, to step Merge: 001559
- to stream Main, to step Curation: 001328
- to stream Main, to step Exploration: 001328
- to stream France, to step Extraction: 000642
Links to Exploration step
Hal:halshs-00397292Le document en format XML
<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="fr">L'art sous la contrainte?
La programmation du répertoire sur le théâtre de l'Académie royale de musique au siècle des Lumières</title><author><name sortKey="Serre, Solveig" sort="Serre, Solveig" uniqKey="Serre S" first="Solveig" last="Serre">Solveig Serre</name><affiliation wicri:level="1"><hal:affiliation type="laboratory" xml:id="struct-512" status="OLD"><orgName>Institut de recherche sur le patrimoine musical en France</orgName><orgName type="acronym">IRPMF</orgName><desc><address><addrLine>2 rue de Louvois, 75002 PARIS</addrLine><country key="FR"></country></address><ref type="url">http://www.irpmf.cnrs.fr</ref></desc><listRelation><relation active="#struct-300057" type="direct"></relation><relation active="#struct-300125" type="direct"></relation><relation name="UMR200" active="#struct-441569" type="direct"></relation></listRelation><tutelles><tutelle active="#struct-300057" type="direct"><org type="institution" xml:id="struct-300057" status="VALID"><orgName>Bibliothèque Nationale de France</orgName><orgName type="acronym">BNF</orgName><desc><address><country key="FR"></country></address></desc></org></tutelle><tutelle active="#struct-300125" type="direct"><org type="institution" xml:id="struct-300125" status="VALID"><orgName>Ministère de la Culture et de la Communication</orgName><orgName type="acronym">MCC</orgName><desc><address><addrLine>3, rue de Valois 75001 Paris</addrLine><country key="FR"></country></address></desc></org></tutelle><tutelle name="UMR200" active="#struct-441569" type="direct"><org type="institution" xml:id="struct-441569" status="VALID"><idno type="IdRef">02636817X</idno><idno type="ISNI">0000000122597504</idno><orgName>Centre National de la Recherche Scientifique</orgName><orgName type="acronym">CNRS</orgName><date type="start">1939-10-19</date><desc><address><country key="FR"></country></address><ref type="url">http://www.cnrs.fr/</ref></desc></org></tutelle></tutelles></hal:affiliation><country>France</country></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">HAL</idno><idno type="RBID">Hal:halshs-00397292</idno><idno type="halId">halshs-00397292</idno><idno type="halUri">https://halshs.archives-ouvertes.fr/halshs-00397292</idno><idno type="url">https://halshs.archives-ouvertes.fr/halshs-00397292</idno><date when="2008">2008</date><idno type="wicri:Area/Hal/Corpus">000565</idno><idno type="wicri:Area/Hal/Curation">000565</idno><idno type="wicri:Area/Hal/Checkpoint">000630</idno><idno type="wicri:doubleKey">0035-1601:2008:Serre S:l:art:sous</idno><idno type="wicri:Area/Main/Merge">001559</idno><idno type="wicri:Area/Main/Curation">001328</idno><idno type="wicri:Area/Main/Exploration">001328</idno><idno type="wicri:Area/France/Extraction">000642</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="fr">L'art sous la contrainte?
La programmation du répertoire sur le théâtre de l'Académie royale de musique au siècle des Lumières</title><author><name sortKey="Serre, Solveig" sort="Serre, Solveig" uniqKey="Serre S" first="Solveig" last="Serre">Solveig Serre</name><affiliation wicri:level="1"><hal:affiliation type="laboratory" xml:id="struct-512" status="OLD"><orgName>Institut de recherche sur le patrimoine musical en France</orgName><orgName type="acronym">IRPMF</orgName><desc><address><addrLine>2 rue de Louvois, 75002 PARIS</addrLine><country key="FR"></country></address><ref type="url">http://www.irpmf.cnrs.fr</ref></desc><listRelation><relation active="#struct-300057" type="direct"></relation><relation active="#struct-300125" type="direct"></relation><relation name="UMR200" active="#struct-441569" type="direct"></relation></listRelation><tutelles><tutelle active="#struct-300057" type="direct"><org type="institution" xml:id="struct-300057" status="VALID"><orgName>Bibliothèque Nationale de France</orgName><orgName type="acronym">BNF</orgName><desc><address><country key="FR"></country></address></desc></org></tutelle><tutelle active="#struct-300125" type="direct"><org type="institution" xml:id="struct-300125" status="VALID"><orgName>Ministère de la Culture et de la Communication</orgName><orgName type="acronym">MCC</orgName><desc><address><addrLine>3, rue de Valois 75001 Paris</addrLine><country key="FR"></country></address></desc></org></tutelle><tutelle name="UMR200" active="#struct-441569" type="direct"><org type="institution" xml:id="struct-441569" status="VALID"><idno type="IdRef">02636817X</idno><idno type="ISNI">0000000122597504</idno><orgName>Centre National de la Recherche Scientifique</orgName><orgName type="acronym">CNRS</orgName><date type="start">1939-10-19</date><desc><address><country key="FR"></country></address><ref type="url">http://www.cnrs.fr/</ref></desc></org></tutelle></tutelles></hal:affiliation><country>France</country></affiliation></author></analytic><series><title level="j">Revue de musicologie</title><idno type="ISSN">0035-1601</idno><imprint><date type="datePub">2008</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass><keywords scheme="mix" xml:lang="fr"><term>Académie royale de musique (Opéra de Paris)</term><term>Archivistique</term><term>Histoire culturelle française et européenne</term><term>Histoire de l'époque moderne</term><term>Histoire institutionnelle</term><term>Histoire politique</term><term>Musique baroque</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">In the 18th century, the Paris Opera was considered as the first of all French theaters. Not only did it have the privilege of musical performances for the whole of France, but it also embodied a style and had become a symbol for the music of the nation. Considering the political and social angle, the Royal Academy was a power issue as well as a huge company that spent tremendous amounts of money, hired numerous people and was very much appreciated by the Parisian audience.
Yet, the Paris Opera looked like a very strange object. Being an academy with no real members, its legal status made it resemble any other French theaters. The descriptions made by contemporary writers often give a very negative image of an institution permanently fighting to overcome the structural administrative problems and trying to balance its receipts and expenses. This paradox can be found in the programming of the repertoire, the word "programming" meaning both the general organization of a theatrical year and the manner the plays are spread out over the different lyrical seasons. In fact, even if the academy had much power, it was submitted to a lot of pressure, was obliged to follow the regular customs in the programming of the lyrical seasons and was supposed to put forward a programming policy that could be adapted to any circumstances and needs.
Under those conditions, program planning was worth thinking about and required reasonable risk taking. This used to unsettle the freedom of art which fluctuated and was totally depending on the opera managers' personalities.</div></front></TEI><affiliations><list><country><li>France</li></country></list><tree><country name="France"><noRegion><name sortKey="Serre, Solveig" sort="Serre, Solveig" uniqKey="Serre S" first="Solveig" last="Serre">Solveig Serre</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/France/Analysis
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000642 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/France/Analysis/biblio.hfd -nk 000642 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= OperaV1
|flux= France
|étape= Analysis
|type= RBID
|clé= Hal:halshs-00397292
|texte= L'art sous la contrainte?
La programmation du répertoire sur le théâtre de l'Académie royale de musique au siècle des Lumières
}}
| This area was generated with Dilib version V0.6.21. |  |