國立虎尾科技大學 |

Border-Crossing and Comedy at the Théâtre Italien, 1716–1723

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Border-Crossing and Comedy at the Théâtre Italien, 1716–1723/ by Matthew J. McMahan.
作者:	McMahan, Matthew J.
面頁冊數:	XV, 264 p. 8 illus., 2 illus. in color.online resource. :
Contained By:	Springer Nature eBook
標題:	Performing Arts. -
電子資源:	https://doi.org/10.1007/978-3-030-70071-3
ISBN:	9783030700713

Border-Crossing and Comedy at the Théâtre Italien, 1716–1723
McMahan, Matthew J.

Border-Crossing and Comedy at the Théâtre Italien, 1716–1723[electronic resource] /by Matthew J. McMahan. - 1st ed. 2021. - XV, 264 p. 8 illus., 2 illus. in color.online resource. - Transnational Theatre Histories. - Transnational Theatre Histories.

Chapter 1: Italian Cultural Capital on the French Stage -- Chapter 2: Prologues, Meta-Comedy, and Cross-Cultural Rapport -- Chapter 3: Bilingualism and Translation in Comedy -- Chapter 4: Stereotypes , Self-Deprecation, and Refracted Satire -- Chapter 5: Improvisation, Emotion, and the Italian Brand -- Chapter 6: Parody as Transcultural Critique. .

“Grounded in a thorough mastery of scholarly literature on eighteenth-century French theatre, McMahan’s study ingeniously interprets Luigi Riccoboni and his troupe as theatrical migrants who used comedy as a means of cultural diplomacy. . . McMahan’s innovative approach to commedia dell’arte as a “transnational brand” offers a robust contribution to Theatre and Performance Studies scholarship.” —Daniel Smith, Michigan State University, USA “In bringing to the attention of an Anglophone audience a neglected theatrical figure, McMahan performs his own act of translational border crossing, which is revealing not just about its subject, but also about the value of critical work that itself moves fruitfully across all sorts of national, disciplinary, and temporal borders.” —Jessica Goodman, St. Catherine’s College, Oxford, UK “McMahan not only offers a vibrant, lucid history of a fascinating eighteenth-century institution, he also draws new insights from the Théâtre Italien’s re-entry into France that illuminate the phenomenon of cross-cultural theatre, a defining feature of performance in the modern era.” —Pannill Camp, Washington University in St. Louis, USA How do nationalized stereotypes inform the reception and content of the migrant comedian’s work? How do performers adapt? What gets lost (and found) in translation? Border-Crossing and Comedy at the Théâtre Italien, 1716-1723 explores these questions in an Early Modern context. When a troupe of commedia dell’arte actors were invited by the French crown to establish a theatre in Paris, they found their transition was anything but easy. They had to learn a new language and adjust to French expectations and demands. This study presents their story as a dynamic model of coping with the challenges of migration, whereby the actors made their transnational identity a central focus of their comedy. Relating their work to popular twenty-first century comedians, this book also discusses the tools and ideas that contextualize the border-crossing comedian’s work—including diplomacy, translation, improvisation, and parody—across time. Matthew McMahan is the Assistant Director of the Center for Comedic Arts at Emerson College, USA, where he teaches the history of comedy, sketch, and improvisation.

ISBN: 9783030700713

Standard No.: 10.1007/978-3-030-70071-3doiSubjects--Topical Terms:

670086
Performing Arts.

LC Class. No.: PN2100-2193

Dewey Class. No.: 792.09

Border-Crossing and Comedy at the Théâtre Italien, 1716–1723
LDR:04126nam a22004095i 4500 001 1047143
003 DE-He213
005 20210818104050.0
007 cr nn 008mamaa
008 220103s2021 sz | s |||| 0|eng d
020 $a 9783030700713 $9 978-3-030-70071-3
024 7 $a 10.1007/978-3-030-70071-3 $2 doi
035 $a 978-3-030-70071-3
050 4 $a PN2100-2193
072 7 $a AN $2 bicssc
072 7 $a PER011020 $2 bisacsh
072 7 $a ATD $2 thema
082 0 4 $a 792.09 $2 23
100 1 $a McMahan, Matthew J. $e author. $4 aut $4 http://id.loc.gov/vocabulary/relators/aut $3 1350806
245 1 0 $a Border-Crossing and Comedy at the Théâtre Italien, 1716–1723 $h [electronic resource] / $c by Matthew J. McMahan.
250 $a 1st ed. 2021.
264 1 $a Cham : $b Springer International Publishing : $b Imprint: Palgrave Macmillan, $c 2021.
300 $a XV, 264 p. 8 illus., 2 illus. in color. $b online resource.
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
347 $a text file $b PDF $2 rda
490 1 $a Transnational Theatre Histories
505 0 $a Chapter 1: Italian Cultural Capital on the French Stage -- Chapter 2: Prologues, Meta-Comedy, and Cross-Cultural Rapport -- Chapter 3: Bilingualism and Translation in Comedy -- Chapter 4: Stereotypes , Self-Deprecation, and Refracted Satire -- Chapter 5: Improvisation, Emotion, and the Italian Brand -- Chapter 6: Parody as Transcultural Critique. .
520 $a “Grounded in a thorough mastery of scholarly literature on eighteenth-century French theatre, McMahan’s study ingeniously interprets Luigi Riccoboni and his troupe as theatrical migrants who used comedy as a means of cultural diplomacy. . . McMahan’s innovative approach to commedia dell’arte as a “transnational brand” offers a robust contribution to Theatre and Performance Studies scholarship.” —Daniel Smith, Michigan State University, USA “In bringing to the attention of an Anglophone audience a neglected theatrical figure, McMahan performs his own act of translational border crossing, which is revealing not just about its subject, but also about the value of critical work that itself moves fruitfully across all sorts of national, disciplinary, and temporal borders.” —Jessica Goodman, St. Catherine’s College, Oxford, UK “McMahan not only offers a vibrant, lucid history of a fascinating eighteenth-century institution, he also draws new insights from the Théâtre Italien’s re-entry into France that illuminate the phenomenon of cross-cultural theatre, a defining feature of performance in the modern era.” —Pannill Camp, Washington University in St. Louis, USA How do nationalized stereotypes inform the reception and content of the migrant comedian’s work? How do performers adapt? What gets lost (and found) in translation? Border-Crossing and Comedy at the Théâtre Italien, 1716-1723 explores these questions in an Early Modern context. When a troupe of commedia dell’arte actors were invited by the French crown to establish a theatre in Paris, they found their transition was anything but easy. They had to learn a new language and adjust to French expectations and demands. This study presents their story as a dynamic model of coping with the challenges of migration, whereby the actors made their transnational identity a central focus of their comedy. Relating their work to popular twenty-first century comedians, this book also discusses the tools and ideas that contextualize the border-crossing comedian’s work—including diplomacy, translation, improvisation, and parody—across time. Matthew McMahan is the Assistant Director of the Center for Comedic Arts at Emerson College, USA, where he teaches the history of comedy, sketch, and improvisation.
650 2 4 $a Performing Arts. $3 670086
650 2 4 $a Global/International Theatre and Performance. $3 1141652
650 1 4 $a Theatre History. $3 1104912
650 0 $a Performing arts. $3 556749
650 0 $a Theater. $2 swd $3 836732
650 0 $a Theater—History. $3 1253996
710 2 $a SpringerLink (Online service) $3 593884
773 0 $t Springer Nature eBook
776 0 8 $i Printed edition: $z 9783030700706
776 0 8 $i Printed edition: $z 9783030700720
776 0 8 $i Printed edition: $z 9783030700737
830 0 $a Transnational Theatre Histories $3 1259666
856 4 0 $u https://doi.org/10.1007/978-3-030-70071-3
912 $a ZDB-2-LCM
912 $a ZDB-2-SXL
950 $a Literature, Cultural and Media Studies (SpringerNature-41173)
950 $a Literature, Cultural and Media Studies (R0) (SpringerNature-43723)