La Tentation de Saint-Antoine au Chat Noir : un exemple de collaboration multidisciplinaire
Among the adaptations of La Tentation de saint Antoine de Flaubert, the one made by Henri Rivière deserves special attention. « Féerie à grand spectacle en 2 actes et 40 tableaux », La Tentation for the shadow theatre (1887) is a composite show that blended the visual component with the music (origi...
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Series: | Flaubert: Revue Critique et Génétique |
Online Access: | http://journals.openedition.org/flaubert/3586 |
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doaj-4cffef8da3194fa099efc99e60ef756f2020-11-25T03:58:30ZfraInstitut des Textes & Manuscrits Modernes (ITEM)Flaubert: Revue Critique et Génétique1969-61912019-06-01La Tentation de Saint-Antoine au Chat Noir : un exemple de collaboration multidisciplinaireMichela NiccolaiAmong the adaptations of La Tentation de saint Antoine de Flaubert, the one made by Henri Rivière deserves special attention. « Féerie à grand spectacle en 2 actes et 40 tableaux », La Tentation for the shadow theatre (1887) is a composite show that blended the visual component with the music (original and arranged by Albert Tinchant and Georges Fragerolle) inside a fixed device where the evocative appearance of the paintings carried the viewer into a mystical universe. The music plays a central role because, in the absence of a text, it must be narrated, so that known tunes, drawn from operas, operettas and café-concert, often used with a parodic sense, alternate with original music composed by Tinchant and Fragerolle. La Tentation de Saint-Antoine is the first true shadow show at the Chat Noir, opening a multidisciplinary collaboration that occurs during the play’s genesis and also during the performance on stage.http://journals.openedition.org/flaubert/3586 |
collection |
DOAJ |
language |
fra |
format |
Article |
sources |
DOAJ |
author |
Michela Niccolai |
spellingShingle |
Michela Niccolai La Tentation de Saint-Antoine au Chat Noir : un exemple de collaboration multidisciplinaire Flaubert: Revue Critique et Génétique |
author_facet |
Michela Niccolai |
author_sort |
Michela Niccolai |
title |
La Tentation de Saint-Antoine au Chat Noir : un exemple de collaboration multidisciplinaire |
title_short |
La Tentation de Saint-Antoine au Chat Noir : un exemple de collaboration multidisciplinaire |
title_full |
La Tentation de Saint-Antoine au Chat Noir : un exemple de collaboration multidisciplinaire |
title_fullStr |
La Tentation de Saint-Antoine au Chat Noir : un exemple de collaboration multidisciplinaire |
title_full_unstemmed |
La Tentation de Saint-Antoine au Chat Noir : un exemple de collaboration multidisciplinaire |
title_sort |
la tentation de saint-antoine au chat noir : un exemple de collaboration multidisciplinaire |
publisher |
Institut des Textes & Manuscrits Modernes (ITEM) |
series |
Flaubert: Revue Critique et Génétique |
issn |
1969-6191 |
publishDate |
2019-06-01 |
description |
Among the adaptations of La Tentation de saint Antoine de Flaubert, the one made by Henri Rivière deserves special attention. « Féerie à grand spectacle en 2 actes et 40 tableaux », La Tentation for the shadow theatre (1887) is a composite show that blended the visual component with the music (original and arranged by Albert Tinchant and Georges Fragerolle) inside a fixed device where the evocative appearance of the paintings carried the viewer into a mystical universe. The music plays a central role because, in the absence of a text, it must be narrated, so that known tunes, drawn from operas, operettas and café-concert, often used with a parodic sense, alternate with original music composed by Tinchant and Fragerolle. La Tentation de Saint-Antoine is the first true shadow show at the Chat Noir, opening a multidisciplinary collaboration that occurs during the play’s genesis and also during the performance on stage. |
url |
http://journals.openedition.org/flaubert/3586 |
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