Overview

In 1921, Sergei Prokofiev's Love for Three Oranges-one of the earliest, most famous examples of modernist opera-premiered in Chicago. Prokofiev's source was a 1913 theatrical divertissement by Vsevolod Meyerhold, who, in turn, took inspiration from Carlo Gozzi's 1761 commedia dell'arte-infused theatrical fairy tale. Only by examining these whimsical, provocative works together can we understand the full significance of their intertwined lineage. With contributions from 17 distinguished scholars in theater, art history, Italian, Slavic studies, and musicology, Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev illuminates the historical development of Modernism in the arts, the ways in which commedia dell'arte's self-referential and improvisatory elements have inspired theater and music innovations, and how polemical playfulness informs creation. A resource for scholars and theater lovers alike, this collection of essays, paired with new translations of Love for Three Oranges, charts the transformations and transpositions that this fantastical tale underwent to provoke theatrical revolutions that still reverberate today.

Full Product Details

Author:   Dassia N. Posner ,  Kevin Bartig ,  Maria De Simone ,  Caryl Emerson
Publisher:   Indiana University Press
Imprint:   Indiana University Press
Weight:   0.803kg
ISBN:  

9780253057884

ISBN 10:   0253057884
Pages:   460
Publication Date:   14 September 2021
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Editorial Notes List of Definitions and Abbreviations List of Illustrations List of Musical Examples Preface: How Not to Die Laughing in a Lethal Time, by Caryl Emerson Acknowledgments Introduction, by Dassia N. Posner, Kevin Bartig, and Maria De Simone Part I: The Fiaba 1. Reflective Analysis of the Fairy Tale The Love of Three Oranges, by Carlo Gozzi , by Maria De Simone 2. The Love of Three Oranges, Venice 1761: A Theatrical Provocation, by Alberto Beniscelli 3. A Short Note on the First Sacchi Company , by Giulietta Bazoli 4. Gozzi's The Love of Three Oranges: A New Horizon of Expectations, by Domenico Pietropaolo 5. Carlo Gozzi's Reactionary Imagination, by Ted Emery 6. A Cultural Pastiche of Fantasy, Satire, and Citrus: Gozzi's The Love of Three Oranges in its German Afterlife, by Natalya Baldyga Part II: The Divertissement 7. Love for Three Oranges. A Divertissement in Twelve Scenes, a Prologue, an Epilogue, and Three Interludes, by Konstantin Vogak, Vsevolod Meyerhold, and Vladimir Soloviev, by Dassia N. Posner 8. Carlo Gozzi in The Journal of Doctor Dapertutto , by Raissa Raskina 9. Meyerhold and the Russian Commedia dell'Arte Myth , by Vadim Shcherbakov 10. The Miklashevsky Connection, by Laurence Senelick 11. From Divertissement to Opera: Two Russian Oranges, by Julia Galanina Part III: The Opera 12. Love for Three Oranges, by Sergei Prokofiev , by Kevin Bartig 13. Tsardom and Buttocks: From Empress Anna to Prokofiev's Fata Morgana, by Inna Naroditskaya 14. Notes on the Musical Parody in Prokofiev's Three Oranges , by Natalia Savkina 15. Notes on the Notes , by Simon A. Morrison 16. Boris Anisfeld, an Alchemist of Color , by John E. Bowlt 17. Oranges in Leningrad , by Kevin Bartig List of Contributors Index

Reviews

Uniquely, this volume gives us innovative translations, detailed comparisons and interdisciplinary analyses of all three texts detailing the journey from Carl Gozzi's fiaba, through Meyerhold/Soloviev/Vogak's Divertissement, to Prokofiev's opera. Previous literature mapped some of the changes, but none offered the comprehensive analyses we find in this book. . . . The tripartite structure of the book is the most logical in terms of the material and, together with the cited paired chapters, as well as reading chapters as stand-alone texts, allow a multi-focus use both for the specialist and the general reader. The editors are to be congratulated for their overall innovative approach and for making the work of many Italian and Russian scholars available in English. -- F Jane Schopf * Stanislavski Studies *

Author Information

Dassia N. Posner is Associate Professor of Theatre and Slavic Languages and Literatures at Northwestern University. Her books include The Director's Prism: E. T. A. Hoffmann and the Russian Theatrical Avant-Garde and The Routledge Companion to Puppetry and Material Performance. Kevin Bartig is Professor of Musicology at Michigan State University. His books include Composing for the Red Screen: Prokofiev and Soviet Film and Sergei Prokofiev's Alexander Nevsky. Maria De Simone is a PhD candidate in the Interdisciplinary PhD in Theatre and Drama (IPTD) program at Northwestern University. Maria also holds an MA from Ca' Foscari University of Venice, where she was first introduced to 18th-century Venetian theatrical practices.

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