This page will contain all information for the conference: the latest version of the programme, acknowledgements, accommodation & travel information, the CfP.
You can find the programme booklet here: https://tinyurl.com/Theatre-on-the-Move
Place: Daubeny Laboratory, Magdalen College, Oxford
WEDNESDAY, 18 SEPTEMBER 2019
1:45 Welcome Annelies Andries (University of Oxford) and Clare Siviter (University of Bristol)
2:00-3:30 Session 1: War Mediated: from Poetry to Opera
Chair: Jessica Goodman (University of Oxford)
Alessandra Palidda (Oxford Brookes University, School of Arts): ‘D’un bel canto patrioto francese’: On the Penetration of French Revolutionary Songs and Images into Opera in Republican Milan (1796-1799)
Eric Schneeman (University of Texas, San Antonio): Christoph von Gluck’s Iphigénie en Aulide and King Friedrich Wilhelm III’s Return from Exile
Filippo Bruschi (Academy of the Arts Venice): Goldoni’s La Guerra: A Bridge between Poetries and Perceptions of War
3:30-4:00 Coffee Break
4:00-5:00 Session 2: International Influence and Resistance on Dutch Stages
Chair: Annelies Andries (University of Oxford)
Lotte Jensen (Radboud University): Resistance against Napoleon on the Dutch Stage
Charlotte Vrielink (University of Amsterdam): International Theatre in Amsterdam Before, During and After the French Period (1795-1813): A Quantitative Approach
5:15-6:30 Keynote (sponsored by Music & Letters)
Keynote speaker: Ben Walton (University of Cambridge), Opera and Conflict
Respondent: Katherine Hambridge (Durham University)
Chair: Fabio Morabito (University of Oxford)
7:15 Conference Dinner (for speakers)
THURSDAY, 19 SEPTEMBER 2019
9:30-10:30 Session 3: The Military Performing
Chair: Clare Siviter (University of Bristol)
Eamonn O’Keeffe (University of Oxford): Regimental Repertoires: The Manuscript Music Books of Napoleonic-Era British Military Musicians
Kate Astbury (Warwick University): Confronting Cultural Difference: French Prisoner-of-War Theatre in England during the Napoleonic Era
10:30-11:00 Coffee Break
11:00-12:30 Session 4: French Imports and Imperial Theatre in the Holy Roman Empire
Chair: Christian Leitmeir (University of Oxford)
Barbara Babic (University of Vienna): Melodrama in Times of War in Early Nineteenth-Century Vienna
Austin Glatthorn (Durham University): The Holy Roman Empire on Stage, 1777-1801
Martin Skamletz (Hochschule der Künste Bern): Performances of French Opera in Vienna during the Napoleonic Era: Bouilly/Dupaty/Isouard’s L’intrigue aux fenêtres
1:45-3:00 Keynote (Sponsored by the ASCMF)
Keynote speaker: Julia Prest (University of St. Andrews) Theatre, Revolution and Revolt or the Breakdown of Communication between France and Saint-Domingue
Respondent: Charlotte Bentley (University of Cambridge)
Chair: Ditlev Rindom (King’s College London)
3:00-3:30 Coffee Break
3:30-5:00 Session 5: French Theatre on Conflict
Chair: Sarah Hibberd (University of Bristol)
Kelly Lynn Christensen (Stanford University): Contrapuntal Motions of State and Theater in the July Revolution
Damien Mahiet (Brown University): Donizetti’s Fille du Régiment, War, and the Revolutionary Family Romance
Mark Everist (University of Southampton): Theatres for the End of Conflict: The Stage, Soft Power, and Anglo-French Relations in the Crimea (1855-1856)
5:00-5:30 Closing Remarks
The conference is funded by the John Fell Fund. We are grateful for additional support from the Magdalen College, the Oxford University Music Faculty, The Association for the Study of Modern and Contemporary France, Music & Letters and Romanticism and Eighteenth-Century Studies Oxford.
If you want to have a ‘college experience’, several colleges rent out their student and other accommodation in between terms: https://www.universityrooms.com/en-GB/search/accommodation/in/Oxford.
There are a number of independent bed and breakfasts at walking distance from the college on Cowley Road and Iffley Road, such as the Isis Guest House (http://www.isisguesthouse.com/); Cherwell Guest House (https://www.cherwellguesthouse.com/en-GB); and Coach and Horses (http://oxfordcoachandhorses.co.uk/).
Oxford can be easily reached from the London Heathrow and London Gatwick airports. There is a direct coach service from both airports that runs 24 hours a day (https://airline.oxfordbus.co.uk/). You can also reach Oxford by train from Heathrow by changing in London and from Gatwick by changing in Reading (https://www.nationalrail.co.uk/).
There is a direct coach service between London Luton airport and Oxford, which runs 24 hours a day. However, it only runs every 2 or 3 hours and the journey is much longer (https://www.nationalexpress.com/en).
When taking the coach from either of the airports, the Queen’s Lane stop is the one closest to Magdalen College.
Oxford is serviced by a direct train from London Paddington and London Marylebone, as well as direct trains from many other major cities in the UK. For some connections, you might have to change in Didcot Parkway, Reading or Birmingham New Street (https://www.nationalrail.co.uk/).
British trains get more expensive as the date for travel approaches, so it is advised to book beforehand.
The Oxford train station is a 20-minute walk from Magdalen College. It is also serviced by multiple buses that will take you to the town centre in about 10 minutes. The closest stop to Magdalen College is Queen’s Lane.
Oxford is serviced by two 24-hour coach services from London, the X90 (https://x90.oxfordbus.co.uk/) and the Oxford Tube (https://www.oxfordtube.com/). For coaches from other parts of the country see (https://www.nationalexpress.com/en). The central coach station is located at Gloucester Green, a 12-minute walk from Magdalen College. However, most buses will also stop at Queen’s Lane, which is very close to Magdalen College.
For further travel information see: https://www.ox.ac.uk/visitors/visiting-oxford/how-get-oxford?wssl=1
CALL FOR PAPERS (Deadline Extended to 9 June 2019)
Theatre on the Move in Times of Conflict (1750-1850)
University of Oxford, Magdalen College, 18-19 September 2019.
This conference seeks to explore the movement of theatre across linguistic, cultural, and national boundaries between 1750 and 1850, with a special focus on conflict as a driver of such movement. Bookended by the Seven Years’ War (1756–1763) – seen by some scholars as the first truly global conflict – and the Crimean War (1853–1856), this century was one of continuous hostilities, from international struggles to colonial campaigns, revolutions to civil wars. These conflicts caused significant displacement of people, fuelling the movement of ideas, technologies, writers, artists, and performers. As a consequence, warfare was a recurring feature of contemporary life, whether an individual was on the move (either mobilised or displaced), had loved ones involved in campaigns, or read about such conflicts in the burgeoning newspaper press. All this radically transformed the public sphere and thus the perception of different cultures. Yet, despite burgeoning interest in cultural transfer, transnationalism, and circulation in the theatre scholars have been less keen to study the transformation caused by theatrical encounter that occurred during, and often because of, conflict and war.
This conference aims to address this lacuna by asking 1) how does conflict enable (or force) encounters and exchanges between theatrical cultures and 2) how do encounters and exchanges affect theatrical milieus and their development? We are interested in encounters shaped by the circulation of materials (theatre texts, music, instruments, stage technology, criticism, etc.); people (migrant artists, armies and their bands, prisoners of war, etc.); ideas and knowledge; and the impact of these circulations on established theatrical milieus. We also question the centrality of ‘nation state’ in studies of theatrical dissemination of this period. Even though conflicts such as the revolutionary and Napoleonic wars are typically considered crucial to the establishment of European ‘nationalisms’, conceptions of the ‘nation’ were still being developed at this time and thus continuously in flux. Therefore, we propose to adopt a broader purview and grapple with issues of encounter between cultures as reflected through class, rank, faith, language, ethnicity, and location.
We understand theatre in a broad sense, from all elements involved in its production and circulation (such as people, material, technology, knowledge, criticism etc.) to the different layers of performance (text, music, image, dance, performance, staging). In terms of genre, this includes a wide variety from opera, melodrama, and vaudeville, to spoken tragedy and comedy and so on. Possible papers might address:
- Networks, patterns, and the technologies of circulation (of theatrical works, of artists, or of audiences)
- Theatre as a locus of identity formation, and identity formation as ‘in between’ cultures (cf. Homi Bhabha)
- Representing ‘national traditions,’ nationalism, and national identities in times of war
- The impact of exile and émigré communities on theatrical production
- Productions by military personnel
- The impact of military presence on theatrical production
- Translations and adaptations of theatrical works
- War, migration, and the understanding of theatrical cosmopolitanism
- Issues of censorship and propaganda
- Methodological issues in studying the impact of conflict on movement of theatre (for instance, Michael Werner and Bénédicte Zimmerman’s notion of ‘intercrossing’)
The programme committee welcomes proposals for individual papers (20 minutes). Please send an abstract (200-250 words) and a short biographical note (ca. 100 words) as Word documents along with your name, affiliation, and any audio, visual, or other needs for the presentation to Annelies Andries (University of Oxford, Magdalen College) and Clare Siviter (University of Bristol) at email@example.com.
The deadline for submissions is 9 June 2019. Acceptance notifications will be sent mid-June 2019.