Konu yok

200th anniversary of Lord Byron's visit to Constantinople, 'Seraglios
and Harems'.

The 2011 conferences will take place on the occasion of the 250th
anniversary of Gasparo Angiolini and Christoph W. Gluck's
ballet-pantomime Don Juan ou le festin de pierre, and will explore

THE TURKISH SUBJECT IN BALLET AND DANCE
from the Sixteenth Century to the Time of Christoph W. Gluck
(1714-1787)
on the occasion of the 250th year jubilee of his Don Juan ou le festin
de pierre and Le cadi dup=C3=A9 (Vienna 1761)

In France and Italy the first 'Turkish' ballets were staged in the late
sixteenth and early seventeenth centuries, and included such productions
as Ballet du Serail (Saint-Germain-en-Laye, 1598), Ballet des
Janissaires (Paris?, 1604), Ballet de Monseigneur le Duc de Vendosme
(Paris, 1610), and Ballo di Donne Turche. Insieme con i loro consorti di
schiavi fatti liberi (by Marco da Gagliano, 1582-1643; Florence, Palazzo
Pitti, 1614). These show the early popularity of the subject, but the
big wave of 'Oriental' ballets was initiated by Jean Baptiste Moli=C3=A8re
(1622-1673) with the com=C3=A9die-ballet Le bourgeois gentilhomme that
premiered October 14, 1670, at the Ch=C3=A2teau de Chambord at the court of
Louis XIV (r.1643-1715). The ballet's closing music (entitled 'Ballet
des Nations') was composed by Jean-Baptiste Lully (1632-1687) and ma=C3=AEt=
re
de danse was Pierre Beauchamp (1631-1705).

With its 'Turkish' dance and its splendid costumes by Laurent chevalier
d'Arvieux (1635-1702), who was engaged as advisor and who himself had
been in the Ottoman Empire as envoy=C3=A9 extraordinaire in Constantinople
and in Tunis, and as consul in Alger (1674-1675) and Aleppo (1679-1686),
French Turquerie on stage reached its first great height.

About three decades later, on October 24, 1697, the Op=C3=A9ra-ballet L'
Europe galante by Antoine Houdar de la Motte (1672-1731) and Andr=C3=A9
Campra (1660-1744) was performed in Paris; it ends with a 'Turkish'
entr=C3=A9e, La Turquie. Building on this subject, 'Le Turc g=C3=A9n=C3=A9r=
eux', the
first act of Jean-Philippe Rameau's (1683-1764) ballet h=C3=A9roique Les
Indes galantes (libretto by Louis Fuzelier [1672/74-1752]) seems to be
influenced by Campra's Turkish concept. The work premiered in Paris on
August 23, 1735.

Christoph W. Gluck (1714-1787) was not only an opera-reformer, but the
composer of the reformist ballet Don Juan ou Le festin de pierre, which
had its premiere in Vienna 250 years ago, on October 17, 1761, almost a
hundred years after Moli=C3=A8re's Dom Juan in 1665. Gluck also created
operas and ballet-music with Turkish-oriental subjects, the most well
known of which are Le cadi dup=C3=A9 (premiere: Vienna, December 8, 1761;
libretto by Pierre-Ren=C3=A9 Lemonnier [1731-1796]) and La rencontre impr=
=C3=A9vue
(premiere: Vienna, January 7, 1764; libretto by Louis Hurtaut Dancourt
[c.1725-1801], after Les p=C3=A8lerins de la Mecque [Paris 1726] by Alain
Ren=C3=A9 Lesage [1668-1747] and Jacques-Philippe d'Orneval [=E2=80=A0 1766=
]).

Most influential choreographers of the eighteenth century had 'Turkish'
ballets in their repertoire. Especially outstanding in this respect are
Gasparo Angiolini (1731-1803), who put on stage Gluck's Don Juan and the
ballet La rencontre impr=C3=A9vue ou les p=C3=A9lerins de la Mecque, Jean-G=
eorges
Noverre (1727-1810), and Franz Anton Hilverding (1710-1768).

Travelling theatre troupes also had ballets with popular Turkish
subjects in their repertoires, including Felix von Kurtz and his troupe,
Filippo Nicolini's troupe, Koch's troupe, and the Ackermann'sche
Gesellschaft.

These are only a few examples of the wide variety of ballets and dances
that treated Turkish-oriental subjects in the seventeenth and eighteenth
centuries. The aim of the symposia in Vienna and Istanbul in 2011 is to
discuss the topic from different perspectives, to present new findings,
and to introduce the latest scholarly achievements in the field.

We especially welcome interdisciplinary contributions from dance
researchers, theatre scholars, musicologists, art historians, and
historians of culture.

For further information and updates please visit our website
www.donjuanarchiv.at

KEY WORDS: dance research, theatre studies, history of art, musicology,
ballet, dance, Turquerie, Turkish subject, exotism, Orientalism.

ORGANISER
Don Juan Archiv Wien, in cooperation with the UNESCO International
Theatre Institute in Vienna, and the Austrian Cultural Forum in
Istanbul

DATES AND VENUES
- Vienna, Austria: April 29-30, 2011, at the UNESCO ITI, T=C3=BCrkenstra=C3=
=9Fe
19, A-1090 Vienna
- Istanbul, Turkey: June 09-10, 2011, at the Austrian Cultural Forum,
Yenik=C3=B6y, TR-34464 Istanbul

For examples of topics addressed at the 2008, 2009 and 2010 symposia,
see www.donjuanarchiv.at/veranstaltungen/symposia.html.

PAPER PROPOSALS
Scholars and artists who wish to present papers are invited to submit
proposals containing the following:

- a one-page abstract of the proposed paper naming the presenter(s);
- contact information, including name, title, position, university or
institutional affiliation, postal address, telephone, fax, and email;
and
- a 75-100-word bio of the presenter(s), including recent publications.

Please submit proposals to:
symposium(at)donjuanarchiv(dot)at

The official language of the symposia is English. Each presentation
should last thirty minutes (plus fifteen minutes for discussion). Papers
presented will be published subsequently in a print volume.

Deadline for submission of proposals: November 30, 2010

For updated programme and further information please contact:

Don Juan Archiv Wien; Goethegasse 1, A-1010 Vienna; phone: +43-1-2365605
fax: +43-1-2365605-25
e-mail: symposium(at)donjuanarchiv(dot)at
web: www.donjuanarchiv.at/veranstaltungen/symposia.html

------------------------------------------------------------------------
Michael H=C3=BCttler

Don Juan Archiv Wien
Goethegasse 1, 1010 Wien
0043-1-2365605
0043-1-236560525
symposium(at)donjuanarchiv.at

Homepage <http://www.donjuanarchiv.at/veranstaltungen/symposia.html>