The book series ‘Ottomania’ researches cultural transfers between the Ottoman Empire and Europe, with the performing arts as its focus. The fifth volume of the sub-series Ottoman Empire and European Theatre focuses on The Turkish Subject in Ballet and Dance from the seventeenth century to the time of Christoph W. Gluck (1714-1787). The Turkish theme was a popular topic on European ballet stages throughout the seventeenth and eighteenth centuries, and most influential choreographers had ‘Turkish’ ballets in their repertoire.
Taking as its departure point Ch. W. Gluck and Gasparo Angiolini (1741-1803), succesful composer and choreographer of ballets at the French theatre in Vienna, this publication discusses the topic from a historical perspective, presents new findings, and introduces the latest scholarly achievements of the research field.
Contributions by Emre Aracı, Bruce Alan Brown, David Chataignier, Sibylle Dahms, Vera Grund, Bert Gstettner, Bent Holm, Michael Hüttler, Evren Kutlay, Dóra Kiss, Laura Naudeix, Strother Purdy, Katalin Rumpler, Käthe Springer-Dissmann, Dirk Van Waelderen, Hans Ernst Weidinger
Daftar Isi
OUVERTURE
EDITORIAL
Michael Hüttler (Vienna) and Hans Ernst Weidinger (Vienna/Florence)
PROLOGUE
IMPRESSIONS AND IMAGES OF THE OTTOMANS IN THE EARLY MODERN PERIOD: OFFICIAL REPRESENTATION, CULTURAL TRANSFER AND ART
Katalin Rumpler (Vienna)
ACT I: GLUCK, LE TURC GÉNÉREUX, AND THE VIENNA CONTEXT
GLUCK THE WANDERER
TRAVELS OF AN EUROPEAN COMPOSER (1734-1779)
Käthe Springer-Dissmann (Vienna)
JALOUSIE, VOLUPTÉ ET LA GALANT:
TURKISH BALLETS IN THE VIENNESE REPERTOIRE (1750-1760)
Vera Grund (Paderborn)
WHAT THE ENVOY SAW: DIPLOMACY, THEATRE, AND AHMED RESMÎ EFENDI’S EMBASSY TO VIENNA (1758)
Bruce Alan Brown (Los Angeles, CA)
THE NEW EDITION OF GLUCK AND ANGIOLINI’S DON JUAN (1761) IN THE GLUCK-GESAMTAUSGABE
Sibylle Dahms (Salzburg)
ACT II: LE TURC ET LA COUR, BALLET ALLA TURCA AND BAROQUE
SEMIOTIC ASPECTS OF THE BAROQUE, THE BALLET, AND THE TURKISH RELATION (1610-1761)
Strother Purdy (Bridgewater, Conneticut)
QUESTIONS REGARDING THE ‘PARADE OF THE NATIONS’ IN THE CARROUSEL DE MONSEIGNEUR LE DAUPHIN (1662)
David Chataignier (Åbo)
SCANDERBERG ON THE FRENCH OPERATIC STAGE: THE TURKISH SUBJECT AS A MEDIATION FOR FICTION (1735)
Laura Naudeix (Rennes)
BETWEEN ROMANTICISM AND REALITY: DANCING DANISH TURKS (1764-1870)
Bent Holm (Copenhagen)
THE ‘SULTAN’ IMAGE IN SELECTED BALLETS OF THE EIGHTEENTH AND THE EARLY NINETEENTH CENTURY (1772-1836)
Evren Kutlay (Istanbul)
ACT III: DANCING TURKISHNESS: GENRE AND GENDER IN BALLETS TURCS AND TURKISH DANCES
‘HEROES AND VILLAINS’: HABSBURG SUPREMACY OVER THE OTTOMANS IN TRIUMPHAS CELEBRATIONS IN THE SPANISH NETHERLANDS (1685)
Dirk G. Van Waelderen (Leuven)
THE ‘TÜRKISH DANCE’, AN AMBIVALENT EMBLEM OF THE FRENCH BELLE DANSE (1725)
Dóra Kiss (Paris/Geneva)
EPILOGUE
ANGELO SOLIMAN (1721-1796) – REVISITED
Bert Gstettner (Vienna)
A LIFE FOR THE SULTAN: MURAD V (1840-1904) AND THE CREATION OF A PSYCHOLOGICAL BALLET
Emre Araci (London)
APPENDIX
INDEX
CURRICULA VITAE
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