Music, Theater, and Society in the Comedies of Luiz Carlos Martins Penna (1833-1846)

Amidst the Lundu, The Aria, and the Alleluia

Fiction & Literature, Drama, Nonfiction, Entertainment, Performing Arts, Music
Cover of the book Music, Theater, and Society in the Comedies of Luiz Carlos Martins Penna (1833-1846) by Luiz Costa-lima Neto, Lexington Books
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Luiz Costa-lima Neto ISBN: 9781498532266
Publisher: Lexington Books Publication: March 15, 2017
Imprint: Lexington Books Language: English
Author: Luiz Costa-lima Neto
ISBN: 9781498532266
Publisher: Lexington Books
Publication: March 15, 2017
Imprint: Lexington Books
Language: English

This book clarifies the musical dramaturgy of comedy writer and musician Luiz Carlos Martins Penna (1815-48) – a notion that encompasses both the theatrical text and its performance. The corpus for this analysis is composed of twelve comedies by Martins Penna written between 1833 and 1846, divided into three groups, which I have called Lundu, Aria, and Alleluia. The sound universe made ​​up by the three groups of comedies covers African-Brazilian genres and musical-choreographic styles (batuque, fado, lundu, miudinho, muquirão), the transnational urban popular universe (lundu, tirana, quadrilha, marcha, waltz, caxuxa, tonadilla, polka), and modinhas and Italian opera, in addition to romantic concertos, Gregorian chant and Iberian religious theater (loas).

To evaluate the multiple meanings acquired by the musical allusions inserted into the comedy texts and theatrical performances, this research reveals the network which included the author, actors, theater owners, publishers and the public, and other agents, such as black Catholic irmandades (brotherhoods), Freemasonry, and institutions linked to the imperial government.

The sound universe of the comedies of Martins Penna are compared to the comedic axes of the Western theatrical tradition (a study of situations and characters) and the axes of performance (solo and chorus), contemplating the relationship between the repertoires written by Martins Penna and the repertoires of Brazilians and Portuguese artists, a mix of actors, singers and dancers, who performed in his comedies.

The research questions the notion of authorship and reveals the importance of the partnership between theatrical writers, artists and publishers, through which the comedies of Martins Penna have reached the second half of the nineteenth century through the present.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

This book clarifies the musical dramaturgy of comedy writer and musician Luiz Carlos Martins Penna (1815-48) – a notion that encompasses both the theatrical text and its performance. The corpus for this analysis is composed of twelve comedies by Martins Penna written between 1833 and 1846, divided into three groups, which I have called Lundu, Aria, and Alleluia. The sound universe made ​​up by the three groups of comedies covers African-Brazilian genres and musical-choreographic styles (batuque, fado, lundu, miudinho, muquirão), the transnational urban popular universe (lundu, tirana, quadrilha, marcha, waltz, caxuxa, tonadilla, polka), and modinhas and Italian opera, in addition to romantic concertos, Gregorian chant and Iberian religious theater (loas).

To evaluate the multiple meanings acquired by the musical allusions inserted into the comedy texts and theatrical performances, this research reveals the network which included the author, actors, theater owners, publishers and the public, and other agents, such as black Catholic irmandades (brotherhoods), Freemasonry, and institutions linked to the imperial government.

The sound universe of the comedies of Martins Penna are compared to the comedic axes of the Western theatrical tradition (a study of situations and characters) and the axes of performance (solo and chorus), contemplating the relationship between the repertoires written by Martins Penna and the repertoires of Brazilians and Portuguese artists, a mix of actors, singers and dancers, who performed in his comedies.

The research questions the notion of authorship and reveals the importance of the partnership between theatrical writers, artists and publishers, through which the comedies of Martins Penna have reached the second half of the nineteenth century through the present.

More books from Lexington Books

Cover of the book The Rhetorical Invention of America's National Security State by Luiz Costa-lima Neto
Cover of the book Zoopoetics by Luiz Costa-lima Neto
Cover of the book Can the Debt Growth Be Stopped? by Luiz Costa-lima Neto
Cover of the book The Obama Doctrine in the Americas by Luiz Costa-lima Neto
Cover of the book Police Education and Training in a Global Society by Luiz Costa-lima Neto
Cover of the book Beyond the Problem of Evil by Luiz Costa-lima Neto
Cover of the book Gender, Conflict, Peace, and UNSC Resolution 1325 by Luiz Costa-lima Neto
Cover of the book The Balkans and the Byzantine World before and after the Captures of Constantinople, 1204 and 1453 by Luiz Costa-lima Neto
Cover of the book Liminal Bodies, Reproductive Health, and Feminist Rhetoric by Luiz Costa-lima Neto
Cover of the book Global Pulls on the Korean Communities in Sao Paulo and Buenos Aires by Luiz Costa-lima Neto
Cover of the book The Great Recession in Fiction, Film, and Television by Luiz Costa-lima Neto
Cover of the book How Television Shapes Our Worldview by Luiz Costa-lima Neto
Cover of the book Repetition, the Compulsion to Repeat, and the Death Drive by Luiz Costa-lima Neto
Cover of the book Student Resistance to Apartheid at the University of Fort Hare by Luiz Costa-lima Neto
Cover of the book Harmonious World and China's New Foreign Policy by Luiz Costa-lima Neto
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy