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Three Loves for Three Oranges
Gozzi, Meyerhold, Prokofiev
Edited by Dassia N. Posner and Kevin Bartig
With Maria De Simone
Contributions by Caryl Emerson, Alberto Beniscelli, Giulietta Bazoli, Domenico Pietropaolo, Ted Emery, Natalya Baldyga, Raissa Raskina, Vadim Shcherbakov, Laurence Senelick, Julia Galanina, Inna Naroditskaya, Natalia Savkina, Simon A. Morrison and John E. Bowlt
Published by: Indiana University Press
460 Pages, 60 b&w illus., 13 printed music items
- eBook
- 9780253057907
- Published: September 2021
$49.99
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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.
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
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.
"This impeccably researched and lavishly illustrated book gathers together scholars from several countries, disciplines, and research interests to illuminate a seminal work of Modernist theatre and music: The Love of Three Oranges. The approach is unique in that it examines three iterations – Gozzi's theatrical fairy tale (fiaba), Meyerhold's divertissement, and Prokofiev's opera. The interconnections are well-known but the details have been hitherto treated largely in their own disciplinary context: Italian literature, Russian theatre, 20th-century music. Hugely important are the three new translations of the texts, which are either available for the first time in English or supplant antiquated versions. This book should lay the foundations for new research trajectories."
~Christopher B. Balme, editor of Commedia dell'Arte in Context, LMU Munich, editor of Commedia dell'Arte in Context, LMU Munich
"Three Loves for Three Oranges is a groundbreaking contribution to the field, offering rich insights into multiple areas of performance studies. Ranging across a wide array of interconnected themes, including commedia dell'arte, collective creation, collaborative writing, literary studies, modernist opera, and Russian avant-garde theatre practices, the book challenges our assumptions about the nature of theatre making, with significant implications both for scholarship and for the teaching of theatre practices."
~Kathryn Mederos Syssoyeva, editor of Women, Collective Creation and Devised Theatre: The Rise of Women Theatre Artists in the 20th and 21st Centuries, editor of Women, Collective Creation and Devised Theatre: The Rise of Women Theatre Artists in th
"This is one symposium that really is a feast: three sumptuous courses, served afresh and described with gusto, their individual flavors matched with their ingredients and their complex interrelationships clarified. Kudos to all the chefs and mavens."
~Richard Taruskin, author of Cursed Questions: On Music and Its Social Practices, author of Cursed Questions: On Music and Its Social Practices
"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
"This is a delightful book, as scholarly in its method as it is light-hearted in its approach. It is also unique in that it brings together for the very !rst time in publication history three famous, but not fully excavated and known works by Carlo Gozzi, Vsevolod Meyerhold (together with Vladmir Solovyev and Konstantin Vogak), and Sergey Proko!ev."
~Maria Shevtsova, New Theatre Quarterly
"A complex and rigorous exploration of the artistic lineages, Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev offers a detailed study of the intertwined creative paths of Gozzi's theatrical fairy tale (fiaba), Meyerhold's divertissement, and Prokofiev's opera. This carefully conceived and elegantly executed collection of essays and originally translated theatrical texts is an immense multidisciplinary historiographic undertaking, which includes insightful contributions of seventeen scholars from the fields of theater and art history, Italian and Slavic Studies, and musicology. . . . Highlighting the importance of multiple cultural and disciplinary perspectives in historiographic research, the volume boldly paves the way for further investigations of theatrical genealogies."
~Julia Listengarten, University of Central Florida, The Russian Review
- ASTR Translation Prize