L'art sous la contrainte?
La programmation du répertoire sur le théâtre de l'Académie royale de musique au siècle des Lumières
Identifieur interne : 000565 ( Hal/Curation ); précédent : 000564; suivant : 000566
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:
Links toward previous steps (curation, corpus...)
- to stream Hal, to step Corpus: Pour aller vers cette notice dans l'étape Curation :000565
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></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><hal api="V3"><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 role="aut"><persName><forename type="first">Solveig</forename><surname>Serre</surname></persName><email>solveig.serre@free.fr</email><idno type="idhal">solveig-serre</idno><idno type="halauthor">414334</idno><idno type="IdRef">http://www.idref.fr/109205391</idno><affiliation ref="#struct-512"></affiliation><affiliation ref="#struct-153212"></affiliation></author><editor role="depositor"><persName><forename>Solveig</forename><surname>Serre</surname></persName><email>solveig.serre@gmail.com</email></editor></titleStmt><editionStmt><edition n="v1" type="current"><date type="whenSubmitted">2009-07-19 22:03:17</date><date type="whenWritten">2008</date><date type="whenModified">2011-04-18 12:11:06</date><date type="whenReleased">2009-07-20 09:37:51</date><date type="whenProduced">2008</date><date type="whenEndEmbargoed">2009-07-19</date><ref type="file" target="https://halshs.archives-ouvertes.fr/halshs-00397292/document"><date notBefore="2009-07-19"></date></ref><ref type="file" subtype="author" n="1" target="https://halshs.archives-ouvertes.fr/halshs-00397292/file/Art-sous-contrainte.pdf"><date notBefore="2009-07-19"></date></ref></edition><respStmt><resp>contributor</resp><name key="137341"><persName><forename>Solveig</forename><surname>Serre</surname></persName><email>solveig.serre@gmail.com</email></name></respStmt></editionStmt><publicationStmt><distributor>CCSD</distributor><idno type="halId">halshs-00397292</idno><idno type="halUri">https://halshs.archives-ouvertes.fr/halshs-00397292</idno><idno type="halBibtex">serre:halshs-00397292</idno><idno type="halRefHtml">Revue de musicologie, JSTOR, 2008, 94 (1), pp.45-57</idno><idno type="halRef">Revue de musicologie, JSTOR, 2008, 94 (1), pp.45-57</idno></publicationStmt><seriesStmt><idno type="stamp" n="CNRS">CNRS - Centre national de la recherche scientifique</idno><idno type="stamp" n="IRPMF">Institut de recherche sur le patrimoine musical en France</idno><idno type="stamp" n="SHS">Sciences de l'Homme et de la Société</idno><idno type="stamp" n="AO-MUSICOLOGIE" p="SHS">AO-MUSICOLOGIE</idno><idno type="stamp" n="BNF_IRPMF" p="BNF">Institut de recherche sur le patrimoine musical en France</idno><idno type="stamp" n="BNF">Bibliothèque nationale de France</idno></seriesStmt><notesStmt><note type="audience" n="2">International</note><note type="popular" n="0">No</note><note type="peer" n="1">Yes</note></notesStmt><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 role="aut"><persName><forename type="first">Solveig</forename><surname>Serre</surname></persName><email>solveig.serre@free.fr</email><idno type="idHal">solveig-serre</idno><idno type="halAuthorId">414334</idno><idno type="IdRef">http://www.idref.fr/109205391</idno><affiliation ref="#struct-512"></affiliation><affiliation ref="#struct-153212"></affiliation></author></analytic><monogr><idno type="halJournalId" status="VALID">18701</idno><idno type="issn">0035-1601</idno><idno type="eissn">1958-5632</idno><title level="j">Revue de musicologie</title><imprint><publisher>JSTOR</publisher><biblScope unit="volume">94</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="pp">45-57</biblScope><date type="datePub">2008</date></imprint></monogr></biblStruct></sourceDesc><profileDesc><langUsage><language ident="fr">French</language></langUsage><textClass><keywords scheme="author"><term xml:lang="fr">Histoire culturelle française et européenne</term><term xml:lang="fr">Musique baroque</term><term xml:lang="fr">Histoire de l'époque moderne</term><term xml:lang="fr">Histoire institutionnelle</term><term xml:lang="fr">Archivistique</term><term xml:lang="fr">Académie royale de musique (Opéra de Paris)</term><term xml:lang="fr">Histoire politique</term></keywords><classCode scheme="halDomain" n="shs.musiq">Humanities and Social Sciences/Musicology and performing arts</classCode><classCode scheme="halTypology" n="ART">Journal articles</classCode></textClass><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.</abstract><abstract xml:lang="fr">Au XVIIIe siècle, l'Opéra de Paris est à tous points de vue le premier des théâtres français. Non seulement il jouit du privilège des représentations en musique dans la France entière, mais il incarne un style et symbolise la nation musicale dans son ensemble. Considérée sous l'angle politique et social, l'Académie royale de musique est un enjeu de pouvoir ainsi qu'une immense maison qui met en jeu des sommes considérables, emploie un personnel très nombreux et bénéficie de l'immense ferveur de la part du public parisien. Et cependant l'Opéra de Paris est un objet bien étrange : académie sans académiciens à proprement parler, son statut se rapproche davantage de celui des autres théâtres. Et le tableau qu'en dressent ses contemporains renvoie bien souvent l'image très négative d'une institution qui lutte en permanence pour surmonter des difficultés administratives structurelles et pour tenter d'équilibrer les recettes et les dépenses. Ce paradoxe de l'Opéra se retrouve dans la programmation de son répertoire, entendue à la fois comme l'organisation de l'année théâtrale et comme la manière dont les œuvres sont réparties au sein des différentes saisons lyriques. En effet, si puissante semble-t-elle, l'Académie royale de musique est soumise à un grand nombre de contraintes qui l'oblige à se conformer à des usages constants dans l'organisation des saisons lyriques et à penser une politique de programmation du répertoire capable de s'adapter selon les circonstances et les besoins. Dans ces conditions, la gestion de la programmation du répertoire nécessite une réflexion approfondie et une prise de risque calculée, qui rend la liberté artistique instable, fluctuante et étroitement dépendante de la personnalité des directeurs de l'Opéra.</abstract></profileDesc></hal></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/Hal/Curation
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000565 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Hal/Curation/biblio.hfd -nk 000565 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= OperaV1
|flux= Hal
|étape= Curation
|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. |  |