This chapter covers a selection of tools and resources for dementia diagnosis and management in primary care based on the experience of a community-based dementia early detection service, for use by trained allied health and social care professionals and primary care physicians to promote communication across disciplines. Considering the large and growing number of validated tools available for outcome assessment and detection of dementia, our goal here is to share useful materials for quick reference rather than a comprehensive summary of available tools and resources. Readers will find in this chapter a sample form to facilitate history-taking, with an explanation of the needed information and recommended use of the General Practitioner Assessment of Cognition (GPCOG); a quick overview of the clinical features suggestive of non-Alzheimer’s disease; a checklist for physical examination and investigation; a sample cognitive and functioning report of an early intervention service with an explanation of the important information to include; common spontaneously reported symptoms in an early intervention service; and lists of useful resources, infographics, and educational material for explaining dementia diagnosis and management.

This chapter considers recent trends in Puccini staging and direction. It notes that Puccini productions have tended to be ‘safe’ compared with the works of composers such as Wagner, inviting audiences to sit back and enjoy rather than sit back and pay attention: Regieoper has tended to avoid Puccini. Recently, however, Puccini’s operas have been subjected to some more unusual and innovative directorial treatment, in productions that are designed to speak to an audience viewing in cinemas and at home as much as in the theatre. Three productions are discussed as case studies. The first is Richard Jones’s 2007 Covent Garden production of Gianni Schicchi, situated in a kitschily decorated mid-twentieth-century British working-class home. The second is Stefan Herheim’s bleak, resolutely unsentimental 2012 La bohème for the Norwegian National Opera, which flips between a contemporary cancer ward and flashbacks using nineteenth-century-style sets long used at the same theatre. The third is Christophe Honoré’s 2019 production of Tosca for Aix-en-Provence, which also intermingles past and present productions, making intertextual reference to the opera’s earlier performance history.

This chapter considers the ways in which Puccini’s works were staged during his lifetime, with a close focus upon the composer’s own vision of how his operas should look. Puccini was keenly involved with the visual representation of his works on stage and always strove to be as ‘authentic’ as possible in reproducing the locales being depicted. This chapter draws upon the composer’s correspondence to demonstrate how proactive Puccini was in every aspect of the performance of his works. We find Puccini complaining about stage designs for his works and suggesting improvements, as well as suggesting novel scenographic approaches to make a work more effective for the viewer. Puccini was also extremely keen to maintain aspects of staging and direction used in some of the source plays upon which his operas had been based. The chapter concludes with a discussion of the various extant sources that document Puccini’s staging intentions.

This chapter examines the representation of race in Madama Butterfly and Turandot and the controversies that surround the performance of these works today. It shows how casting, design, and other elements in contemporary productions of the two operas become entangled with the fraught racial politics inherent in their scores and librettos. The chapter makes a particular note of the participation of musicians, directors, set designers, costume designers, and critics of Asian descent whose active presence adds an additional layer of complexity to the discussion. Madama Butterfly began to be discussed in Japan soon after its première and by the mid-twentieth century companies were beginning to seek out experts from Japan to lend enhanced cultural credence of their productions. More recent productions, however, have moved away from striving for ‘authenticity’ and begun to re-envision Puccini’s text in radical ways. Productions of Turandot have either staged the opera in authentically Chinese fashion or drawn on the abstract modernist impulses inherent in the work. Chinese audiences have been far less exposed to the work and Chinese artists less involved in its rethinking, at least until the late twentieth century. The advent of social media has broadened the questioning of the ethics of these works.

This chapter refutes Dover’s arguments that anachronisms and an unstageable change of speaker demonstrate the text of the (second) Clouds that we have to be an incomplete revision, intended as a text only for reading, not for performance.

This chapter examines several passages in Aristophanes’ Wasps where I argue that obscene language and sexual elements in the dramatic action have been missed by readers and commentators.

This chapter looks at the evolution of acting styles in Molière’s time, paying particular attention to the creation of a ‘regular acting’ that matched the emergence of the classical rules, and also to the competition between the two main playhouses of the time. Molière prioritised variety. Stage business became a crucible of several traditions and a means of experimenting with new comic effects: from vulgar gestures, beatings and mimicry to lazzi and rodomontades; from provincial accents to stuttering and an uncontrolled emotional hiccup; from cross-dressing to disguise. In the 1660s, Molière sought to differentiate his company from the Hôtel de Bourgogne, whose forte was tragic, oratorical acting, and whose actors may not all have been as physically agile on stage as Molière was himself. He sparked controversy, promoting his hybrid acting ‘brand’, which probably consisted of a combination of an attenuated declamatory style and a faster flow in the tragic and, conversely, an exaggerated and excessive body language style accompanied by extreme contortions in the comic. Molière triumphed on the comic stage, becoming a model and marking the next generations of actors.

Chapter 6 brings together evidence of all kinds from the whole period to create a vivid picture of popular opera and its audience in the theatre. ‘Theatre Size and Ambience’ correlates detailed historical information to produce a systematic overview of many theatre buildings, together with interior details and size of musical ensembles. Ticket admission prices at the Opéra, Comédie-Italienne and the Fair theatres are compared and assessed. Descriptions by a number of eyewitnesses (French, Italian, English, Irish and German observers) combine to give an impression of activity in popular theatre seen from the audience’s point of view. In a survey of staging, the evidence is both visual and textual: engraved and painted illustrations are analysed and ‘corrected’ so that the proportions of stage sets can be understood. Then a synopsis of stage directions suggests the material range of experience in popular opera. A survey of lighting effects is discussed in relation to stage context, showing how some comedies combined lighting effects with music.

Euridice had a poetic text by Ottavio Rinuccini, and music by Jacopo Peri and Giulio Caccini; its performers included Florentine singers plus others from Mantua and Rome; and its sponsor, Jacopo Corsi, was one of the four instrumentalists who provided the accompaniment. Although it is the “first” opera to have survived complete, it has tended to be treated as an academic exercise, and as a mere forerunner of the seemingly more successful early operas by the likes of Claudio Monteverdi. But having reconstructed the stage, it is now possible to read Euridice in a much more practical light, as something of and for the theatre. Both the text and the music make much more sense in these pragmatic terms, especially given the hitherto unrecognized revisions made to the libretto as decisions needed to be made during the rehearsals leading up to the premiere. Matters of casting, stage movement, costumes, and gesture all come into play, often cued by explicit or implicit directions in the surviving sources. This also offers a more careful way of reading poetic librettos and musical scores that are too often viewed in the abstract without grasping their performative functions.

This chapter analyzes traditions of staging the plays from the beginning of the twentieth century, spanning a period from the Boer Wars until the postcolonial wars of the present. It considers not only ways of depicting fighting and battles, but also perspectives on the morality of war created by Shakespeare and his directors. During this period, post-Victorian pictorial realism and historical “accuracy” survived in cinema, but in the theater they gave way to non-illusionistic and unlocalized sets as companies turned their attention from “history” to politics. This did not mean that spectacle diminished: shocking savagery and violence could be graphically represented, but pageants of royal and aristocratic grandeur along with appeals to patriotism sustained by providence were set against vignettes of common life – no longer “comic relief” but ironic touchstones that detected processes of chauvinism, huffing rhetoric, and heroic posturing as families, factions, and nations tore themselves apart.

The tragedian Aeschylus is said to have called his plays slices from Homer’s banquet, by which he presumably meant slices from what Homer had left behind on the table.1 It is much easier, as Aeschylus knew (and so famously did), to develop stories that Homer probably knew but did not tell or (as Roman poets eventually did) to weave new stories using Homeric techniques than it is to rework in an artistically effective way what Homer had already done in the Iliad and Odyssey. A change of genre may certainly make that task easier, and the aim of this essay is to look specifically at what happens when a slice from Homer’s own platter becomes a libretto and then, in turn, a performable opera. The specific process in question involves the self-styled poème lyrique of the prolific dramatist, librettist, and actor René Fauchois and Pénélope, the opera made from it by Gabriel Fauré.