Rousseau on Stage: Playwright, Musician, Spectator ed. by Maria Gullstam, and Michael O'Dea (review)

Starting with the paradoxical idea of "Rousseau's happy relationship with theater" (7), the essays succeed in debunking our common assumption that Rousseau was thoroughly anti-theater, based on new readings of Rousseau's seminal Lettre sur les spectacles, careful analyses of less...

Full description

Saved in:
Bibliographic Details
Published in:The French Review 2019-03, Vol.92 (3), p.212-213
Main Author: Fourny, Diane
Format: Article
Language:English
Subjects:
Autobiographies
Course Descriptions
Essays
Historiography
Mediation
Musical Composition
Opera
Performance art
Theater
Theaters
Online Access:Get full text
Tags: Add Tag
No Tags, Be the first to tag this record!
cited_by
cites
container_end_page 213
container_issue 3
container_start_page 212
container_title The French Review
container_volume 92
creator Fourny, Diane
description Starting with the paradoxical idea of "Rousseau's happy relationship with theater" (7), the essays succeed in debunking our common assumption that Rousseau was thoroughly anti-theater, based on new readings of Rousseau's seminal Lettre sur les spectacles, careful analyses of less-studied theatrical works and musical compositions, and a reassessment of Rousseau's posterity to theater from Romanticism to Wagner and beyond (Artaud's "alternative theatricality"). Baker suggests reading Rousseau not as a reactionary but a radical using an anthropological argument against d'Alembert whereby Genevan artisan cercles and the public festival become models of collective, indigenous performance art threatened by the tired and immoral representational theater of Parisian high culture—a "colonial invasion" of sorts that anticipates today's condemnation of the "entertainment society" (42). Primavesi evaluates the Lettre's dramaturgy as rhetorical performance art: a demonstration of public spectacle as a means to elide the mediation of traditional theater through representation in favor of an "immediate self-encounter of the people" (285).
doi_str_mv 10.1353/tfr.2019.0209
format article
fullrecord <record><control><sourceid>proquest_cross</sourceid><recordid>TN_cdi_proquest_journals_2525650166</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><sourcerecordid>2525650166</sourcerecordid><originalsourceid>FETCH-LOGICAL-c1116-33026e620d25dd0aaeb5cf70cae815ac026203d73314b28db21f8a00ed7c07ed3</originalsourceid><addsrcrecordid>eNpF0E1LAzEQBuAgCtaPo_eABxW6dZI02dab-A0WxSp4C9NkVrdsuzXZVfrvzaLoaQ7z8s7wMHYgYCCUVqdNEQYSxHgAEsYbrCeVHGe5UGKT9QCEyYQQr9tsJ8Y5ABitocf8U93GSNjyesmnDb7RGX-scP0Vyrf3ps8nbSxdics-n67INdjUgZMf8NmaTzCUyG_aqooNLvocl55PSveOVPGHo0tCfhzos6Svkz22VWAVaf937rKX66vni9vs_uHm7uL8PnPpM5MpBdKQkeCl9h4QaaZdkYNDGgmNLm0lKJ8rJYYzOfIzKYoRApDPHeTk1S47_OldhfqjpdjYed2GZTpppZba6IRgUir7SblQxxiosKtQLjCsrQDbQdoEaTtI20Gm_PCvdZ4MFm2k_-Lc5NoM7bTD7qzFWAGkB9U3ptx0wA</addsrcrecordid><sourcetype>Aggregation Database</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype><pqid>2525650166</pqid></control><display><type>article</type><title>Rousseau on Stage: Playwright, Musician, Spectator ed. by Maria Gullstam, and Michael O'Dea (review)</title><source>Art, Design &amp; Architecture Collection (Proquest) (PQ_SDU_P3)</source><source>Social Science Premium Collection (Proquest) (PQ_SDU_P3)</source><source>ProQuest One Literature</source><source>Education Collection</source><creator>Fourny, Diane</creator><creatorcontrib>Fourny, Diane</creatorcontrib><description>Starting with the paradoxical idea of "Rousseau's happy relationship with theater" (7), the essays succeed in debunking our common assumption that Rousseau was thoroughly anti-theater, based on new readings of Rousseau's seminal Lettre sur les spectacles, careful analyses of less-studied theatrical works and musical compositions, and a reassessment of Rousseau's posterity to theater from Romanticism to Wagner and beyond (Artaud's "alternative theatricality"). Baker suggests reading Rousseau not as a reactionary but a radical using an anthropological argument against d'Alembert whereby Genevan artisan cercles and the public festival become models of collective, indigenous performance art threatened by the tired and immoral representational theater of Parisian high culture—a "colonial invasion" of sorts that anticipates today's condemnation of the "entertainment society" (42). Primavesi evaluates the Lettre's dramaturgy as rhetorical performance art: a demonstration of public spectacle as a means to elide the mediation of traditional theater through representation in favor of an "immediate self-encounter of the people" (285).</description><identifier>ISSN: 0016-111X</identifier><identifier>ISSN: 2329-7131</identifier><identifier>EISSN: 2329-7131</identifier><identifier>DOI: 10.1353/tfr.2019.0209</identifier><language>eng</language><publisher>Carbondale: Johns Hopkins University Press</publisher><subject>Autobiographies ; Course Descriptions ; Essays ; Historiography ; Mediation ; Musical Composition ; Opera ; Performance art ; Theater ; Theaters</subject><ispartof>The French Review, 2019-03, Vol.92 (3), p.212-213</ispartof><rights>Copyright Johns Hopkins University Press Mar 2019</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.proquest.com/docview/2525650166/fulltextPDF?pq-origsite=primo$$EPDF$$P50$$Gproquest$$H</linktopdf><linktohtml>$$Uhttps://www.proquest.com/docview/2525650166?pq-origsite=primo$$EHTML$$P50$$Gproquest$$H</linktohtml><link.rule.ids>314,315,786,790,798,12888,21406,21422,27955,27957,27958,33646,33912,34810,43768,43915,44235,63018,63019,63034,74553,74578,74754,75085</link.rule.ids></links><search><creatorcontrib>Fourny, Diane</creatorcontrib><title>Rousseau on Stage: Playwright, Musician, Spectator ed. by Maria Gullstam, and Michael O'Dea (review)</title><title>The French Review</title><description>Starting with the paradoxical idea of "Rousseau's happy relationship with theater" (7), the essays succeed in debunking our common assumption that Rousseau was thoroughly anti-theater, based on new readings of Rousseau's seminal Lettre sur les spectacles, careful analyses of less-studied theatrical works and musical compositions, and a reassessment of Rousseau's posterity to theater from Romanticism to Wagner and beyond (Artaud's "alternative theatricality"). Baker suggests reading Rousseau not as a reactionary but a radical using an anthropological argument against d'Alembert whereby Genevan artisan cercles and the public festival become models of collective, indigenous performance art threatened by the tired and immoral representational theater of Parisian high culture—a "colonial invasion" of sorts that anticipates today's condemnation of the "entertainment society" (42). Primavesi evaluates the Lettre's dramaturgy as rhetorical performance art: a demonstration of public spectacle as a means to elide the mediation of traditional theater through representation in favor of an "immediate self-encounter of the people" (285).</description><subject>Autobiographies</subject><subject>Course Descriptions</subject><subject>Essays</subject><subject>Historiography</subject><subject>Mediation</subject><subject>Musical Composition</subject><subject>Opera</subject><subject>Performance art</subject><subject>Theater</subject><subject>Theaters</subject><issn>0016-111X</issn><issn>2329-7131</issn><issn>2329-7131</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2019</creationdate><recordtype>article</recordtype><sourceid>AIMQZ</sourceid><sourceid>ALSLI</sourceid><sourceid>CJNVE</sourceid><sourceid>K50</sourceid><sourceid>M1D</sourceid><recordid>eNpF0E1LAzEQBuAgCtaPo_eABxW6dZI02dab-A0WxSp4C9NkVrdsuzXZVfrvzaLoaQ7z8s7wMHYgYCCUVqdNEQYSxHgAEsYbrCeVHGe5UGKT9QCEyYQQr9tsJ8Y5ABitocf8U93GSNjyesmnDb7RGX-scP0Vyrf3ps8nbSxdics-n67INdjUgZMf8NmaTzCUyG_aqooNLvocl55PSveOVPGHo0tCfhzos6Svkz22VWAVaf937rKX66vni9vs_uHm7uL8PnPpM5MpBdKQkeCl9h4QaaZdkYNDGgmNLm0lKJ8rJYYzOfIzKYoRApDPHeTk1S47_OldhfqjpdjYed2GZTpppZba6IRgUir7SblQxxiosKtQLjCsrQDbQdoEaTtI20Gm_PCvdZ4MFm2k_-Lc5NoM7bTD7qzFWAGkB9U3ptx0wA</recordid><startdate>20190301</startdate><enddate>20190301</enddate><creator>Fourny, Diane</creator><general>Johns Hopkins University Press</general><scope>AAYXX</scope><scope>CITATION</scope><scope>0-V</scope><scope>7XB</scope><scope>ABUWG</scope><scope>AFKRA</scope><scope>AIMQZ</scope><scope>ALSLI</scope><scope>AVQMV</scope><scope>AZQEC</scope><scope>BENPR</scope><scope>CCPQU</scope><scope>CJNVE</scope><scope>DWQXO</scope><scope>GNUQQ</scope><scope>GUQSH</scope><scope>K50</scope><scope>LIQON</scope><scope>M0P</scope><scope>M1D</scope><scope>M2O</scope><scope>MBDVC</scope><scope>PQEDU</scope><scope>PQEST</scope><scope>PQQKQ</scope><scope>PQUKI</scope><scope>PRINS</scope><scope>Q9U</scope></search><sort><creationdate>20190301</creationdate><title>Rousseau on Stage: Playwright, Musician, Spectator ed. by Maria Gullstam, and Michael O'Dea (review)</title><author>Fourny, Diane</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-c1116-33026e620d25dd0aaeb5cf70cae815ac026203d73314b28db21f8a00ed7c07ed3</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2019</creationdate><topic>Autobiographies</topic><topic>Course Descriptions</topic><topic>Essays</topic><topic>Historiography</topic><topic>Mediation</topic><topic>Musical Composition</topic><topic>Opera</topic><topic>Performance art</topic><topic>Theater</topic><topic>Theaters</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Fourny, Diane</creatorcontrib><collection>CrossRef</collection><collection>ProQuest Social Sciences Premium Collection【Remote access available】</collection><collection>ProQuest Central (purchase pre-March 2016)</collection><collection>ProQuest Central (Alumni)</collection><collection>ProQuest Central</collection><collection>ProQuest One Literature</collection><collection>Social Science Premium Collection (Proquest) (PQ_SDU_P3)</collection><collection>Arts Premium Collection</collection><collection>ProQuest Central Essentials</collection><collection>AUTh Library subscriptions: ProQuest Central</collection><collection>ProQuest One Community College</collection><collection>Education Collection</collection><collection>ProQuest Central</collection><collection>ProQuest Central Student</collection><collection>Research Library Prep</collection><collection>Art, Design &amp; Architecture Collection (Proquest) (PQ_SDU_P3)</collection><collection>ProQuest One Literature - U.S. Customers Only</collection><collection>ProQuest Education Journals</collection><collection>ProQuest Arts &amp; Humanities Database</collection><collection>ProQuest research library</collection><collection>Research Library (Corporate)</collection><collection>ProQuest One Education</collection><collection>ProQuest One Academic Eastern Edition (DO NOT USE)</collection><collection>ProQuest One Academic</collection><collection>ProQuest One Academic UKI Edition</collection><collection>ProQuest Central China</collection><collection>ProQuest Central Basic</collection><jtitle>The French Review</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Fourny, Diane</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>Rousseau on Stage: Playwright, Musician, Spectator ed. by Maria Gullstam, and Michael O'Dea (review)</atitle><jtitle>The French Review</jtitle><date>2019-03-01</date><risdate>2019</risdate><volume>92</volume><issue>3</issue><spage>212</spage><epage>213</epage><pages>212-213</pages><issn>0016-111X</issn><issn>2329-7131</issn><eissn>2329-7131</eissn><abstract>Starting with the paradoxical idea of "Rousseau's happy relationship with theater" (7), the essays succeed in debunking our common assumption that Rousseau was thoroughly anti-theater, based on new readings of Rousseau's seminal Lettre sur les spectacles, careful analyses of less-studied theatrical works and musical compositions, and a reassessment of Rousseau's posterity to theater from Romanticism to Wagner and beyond (Artaud's "alternative theatricality"). Baker suggests reading Rousseau not as a reactionary but a radical using an anthropological argument against d'Alembert whereby Genevan artisan cercles and the public festival become models of collective, indigenous performance art threatened by the tired and immoral representational theater of Parisian high culture—a "colonial invasion" of sorts that anticipates today's condemnation of the "entertainment society" (42). Primavesi evaluates the Lettre's dramaturgy as rhetorical performance art: a demonstration of public spectacle as a means to elide the mediation of traditional theater through representation in favor of an "immediate self-encounter of the people" (285).</abstract><cop>Carbondale</cop><pub>Johns Hopkins University Press</pub><doi>10.1353/tfr.2019.0209</doi><tpages>2</tpages></addata></record>
fulltext fulltext
identifier ISSN: 0016-111X
ispartof The French Review, 2019-03, Vol.92 (3), p.212-213
issn 0016-111X
2329-7131
2329-7131
language eng
recordid cdi_proquest_journals_2525650166
source Art, Design & Architecture Collection (Proquest) (PQ_SDU_P3); Social Science Premium Collection (Proquest) (PQ_SDU_P3); ProQuest One Literature; Education Collection
subjects Autobiographies
Course Descriptions
Essays
Historiography
Mediation
Musical Composition
Opera
Performance art
Theater
Theaters
title Rousseau on Stage: Playwright, Musician, Spectator ed. by Maria Gullstam, and Michael O'Dea (review)
url http://sfxeu10.hosted.exlibrisgroup.com/loughborough?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2024-09-22T14%3A24%3A27IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-proquest_cross&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=Rousseau%20on%20Stage:%20Playwright,%20Musician,%20Spectator%20ed.%20by%20Maria%20Gullstam,%20and%20Michael%20O'Dea%20(review)&rft.jtitle=The%20French%20Review&rft.au=Fourny,%20Diane&rft.date=2019-03-01&rft.volume=92&rft.issue=3&rft.spage=212&rft.epage=213&rft.pages=212-213&rft.issn=0016-111X&rft.eissn=2329-7131&rft_id=info:doi/10.1353/tfr.2019.0209&rft_dat=%3Cproquest_cross%3E2525650166%3C/proquest_cross%3E%3Cgrp_id%3Ecdi_FETCH-LOGICAL-c1116-33026e620d25dd0aaeb5cf70cae815ac026203d73314b28db21f8a00ed7c07ed3%3C/grp_id%3E%3Coa%3E%3C/oa%3E%3Curl%3E%3C/url%3E&rft_id=info:oai/&rft_pqid=2525650166&rft_id=info:pmid/&rfr_iscdi=true