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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.
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.
Editorial NotesList of Definitions and AbbreviationsList of IllustrationsList of Musical ExamplesPreface: How Not to Die Laughing in a Lethal Time, by Caryl EmersonAcknowledgmentsIntroduction, by Dassia N. Posner, Kevin Bartig, and Maria De SimonePart I: The Fiaba1. Reflective Analysis of the Fairy Tale The Love of Three Oranges, by Carlo Gozzi , by Maria De Simone2. The Love of Three Oranges, Venice 1761: A Theatrical Provocation, by Alberto Beniscelli3. A Short Note on the First Sacchi Company , by Giulietta Bazoli4. Gozzi's The Love of Three Oranges: A New Horizon of Expectations, by Domenico Pietropaolo5. Carlo Gozzi's Reactionary Imagination, by Ted Emery6. A Cultural Pastiche of Fantasy, Satire, and Citrus: Gozzi's The Love of Three Oranges in its German Afterlife, by Natalya BaldygaPart II: The Divertissement7. 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. Posner8. Carlo Gozzi in The Journal of Doctor Dapertutto , by Raissa Raskina9. Meyerhold and the Russian Commedia dell'Arte Myth , by Vadim Shcherbakov10. The Miklashevsky Connection, by Laurence Senelick11. From Divertissement to Opera: Two Russian Oranges, by Julia GalaninaPart III: The Opera12. Love for Three Oranges, by Sergei Prokofiev , by Kevin Bartig13. Tsardom and Buttocks: From Empress Anna to Prokofiev's Fata Morgana, by Inna Naroditskaya14. Notes on the Musical Parody in Prokofiev's Three Oranges , by Natalia Savkina15. Notes on the Notes , by Simon A. Morrison16. Boris Anisfeld, an Alchemist of Color , by John E. Bowlt17. Oranges in Leningrad , by Kevin BartigList of ContributorsIndex
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