By S. Wilmer
This e-book examines many of the ways that nationwide theatres have shaped and developed over the years, and the various services they've got received reckoning on the character of the political regimes and cultural situations during which they've been positioned. It additionally highlights the problems those associations come across at the present time, in an atmosphere the place nationalism and nationwide id are more and more contested by way of worldwide, transnational, local, pluralist and native agendas, and the place financial forces create conflicting calls for in a aggressive industry.
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Additional resources for National Theatres in a Changing Europe (Studies in International Performance)
Sample text
Only a few of these new ventures were actually designated National Theatres, a variety of other names being used, the most important of which was the National Dramatic Centres, a term first applied in the 1960s, when this movement reached its peak under Cultural Minister André Malraux. Although Centres dramatiques nationals (CDN) and various other state-funded theatre organizations are still found across France, the government has been reluctant to expand the number of so-called National Theatres.
Drama in the vernacular language was one of the principal and most visible forms of this cultural nationalist movement of ‘recovery’ and mythification in emerging European states. Opera, symphonic poems and folk music also proved to be powerful media for National Romanticism, for example in the work of Wagner, Verdi, Smetana, Dvoˇrák, Janáˇcek, Chopin, Grieg, Bartók, Tchaikovsky, Mussorgsky, Liszt, and Sibelius. g. g. by Alphonse Mucha in Czechoslovakia, Hans Gude in Norway and Gallen-Kallela in Finland) were also important modes of nationalist expression.
In seeking to formulate their own notion of what tied their people together and made them unique, cultural nationalists to some extent reinvented the past, often writing ancient national histories that came to justify the creation of separate nation-states. ’19 Also Ernest Gellner argues, ‘The cultural shreds and patches used by nationalism are often arbitrary historical inventions. Any old shred would have served as well. [. ] Nationalism is not what it seems. ’20 Cultural nationalists investigated and exploited folklore, myths, legends, and local history, and also romanticized the lives of the rural folk.