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8 results

  • 16 - Blackness and Whiteness in The Magic Flute: Reflections from Shakespeare Studies

  • from Part III - Approaches and Perspectives
  • Edited by Jessica Waldoff, College of the Holy Cross, Massachusetts
  • Book:
    The Cambridge Companion to <i>The Magic Flute</i>
    Published online:
    24 November 2023
    Print publication:
    02 November 2023, pp 252-272

  • Summary

    In this chapter, I consider how we might address the legacies of race and racism in The Magic Flute and its performance history, and what opportunities there might be to re-envision the Singspiel, by looking at parallels with Shakespeare repertory and #ShakeRace studies. Scholars working at the intersections of premodern critical race theory, postcolonial studies, Shakespeare studies, and performance studies have for decades considered how what Kim Hall calls “race thinking” permeates Shakespeare’s texts, contexts, and audiences, as well as productions and interpretations in our own time. What kind of freedom or flexibility might we have to adapt, translate, appropriate, and “unsettle” The Magic Flute in scholarship, performance, and pedagogy, by taking our cue from experimental approaches to Shakespeare?

  • Youth, Captivity and Virtue in the Eighteenth-Century Kindertruppen – ERRATUM

  • ADELINE MUELLER
  • Journal:
    Eighteenth-Century Music / Volume 10 / Issue 2 / September 2013
    Published online by Cambridge University Press:
    01 August 2013, p. 314
    Print publication:
    September 2013
    • Article
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  • Youth, Capitivity and Virtue in the Eighteenth-Century Kindertruppen

  • ADELINE MUELLER
  • Journal:
    Eighteenth-Century Music / Volume 10 / Issue 1 / March 2013
    Published online by Cambridge University Press:
    06 February 2013, pp. 65-91
    Print publication:
    March 2013

  • This article uses Mozart's unfinished singspiel Zaide (k336b, 1780) and its source singspiel Das Serail to reconsider the eighteenth-century Kindertruppen: wandering troupes of young singers, actors and dancers who performed in the court and commercial theatres of Europe. These troupes' repertoire often self-consciously addressed the blend of charm and impropriety that lay behind their controversial appeal. I consider the subgenre of seraglio opera – popular with both youth and adult troupes – and in particular the motifs of the audition scene and the captive's lament as metatheatrical commentaries on the cultural politics of operatic spectatorship. When young actors inhabited the fictional seraglio, their display offered compelling corroboration of contemporary discourse about propriety, naturalness and absorption in the theatre, as well as the new sense of urgency regarding the sheltering of youthful virtue.