Year: 2019
Author: Seebald, Christian
Literaturwissenschaftliches Jahrbuch, Vol. 60 (2019), Iss. 1 : pp. 205–226
Abstract
The thesis of the birth of opera as a result of late humanistic reception of antiquity at the turn of the 17th century has been a commonplace idea within the discussion of dramatic genres. Yet the dominant narrative of change or renewal tends to obscure phenomena of continuity and anachronism which are nonetheless relevant for the tradition of premodern theatre. Those residues of an outlasting dramatic tradition are the focus of this paper which is especially concerned with the transitions between the broad stream of medieval liturgical drama and early modern opera. It is to be shown how close the ties in particular are between the new genre of music theatre and the older theatrical models and their continuities. At the same time the specific achievements and innovations of the younger operatic genre can be accentuated even more distinctly. This paper will concentrate on a paradigmatic case from the early times of German music theatre, the Hamburg inaugural opera Adam from 1678, to demonstrate the characteristic links as well as transformations between the traditions of the medieval liturgical and early modern protestant drama and the operatic genre of the 17th century.
You do not have full access to this article.
Already a Subscriber? Sign in as an individual or via your institution
Journal Article Details
Publisher Name: Global Science Press
Language: English
DOI: https://doi.org/10.3790/ljb.60.1.205
Literaturwissenschaftliches Jahrbuch, Vol. 60 (2019), Iss. 1 : pp. 205–226
Published online: 2019-11
AMS Subject Headings: Duncker & Humblot
Copyright: COPYRIGHT: © Global Science Press
Pages: 22
Author Details
| Section Title | Page | Action | Price |
|---|---|---|---|
| Christian Seebald: Vom Adamsspiel zur Adamsoper. Zu den Übergängen zwischen mittelalterlichem geistlichen Spiel und frühem deutschen Musiktheateram Beispiel der Hamburger Oper | 1 | ||
| Abstract | 1 | ||
| I. | 1 | ||
| II. | 5 | ||
| III. | 2 |