Die Fledermaus is an operetta composed by Johann Strauss II to a German libretto by Karl Haffner and Richard Genée. The original literary source for Die Fledermaus was Das Gefängnis, a farce by German playwright Julius Roderich Benedix that premiered in Berlin in 1851. On 10 September 1872, a three-act French vaudeville play by Henri Meilhac and Ludovic Halévy, Le Réveillon, loosely based on the Benedix farce, opened at the Théâtre du Palais-Royal. Meilhac and Halévy had provided several successful libretti for Offenbach and Le Réveillon formed the basis for the 1926 silent film So This Is Paris, directed by Ernst Lubitsch. Meilhac and Halévy's play was soon translated into German by Karl Haffner, at the instigation of Max Steiner, as a non-musical play for production in Vienna; the French custom of a New Year's Eve réveillon, or supper party, was not considered to provide a suitable setting for the Viennese theatre, so it was decided to substitute a ball for the réveillon. Haffner's translation was passed to the playwright and composer Richard Genée, who had provided some of the lyrics for Strauss's Der Karneval in Rom the year before, he completed the libretto.
The operetta premiered on 5 April 1874 at the Theater an der Wien in Vienna and has been part of the regular repertoire since:It was performed in New York under Rudolf Bial at the Stadt Theatre on 21 November 1874. The German première took place at Munich's Gärtnerplatztheater in 1875. Die Fledermaus was sung in English at London's Alhambra Theatre on 18 December 1876, with its score modified by Hamilton Clarke; when the operetta came to Paris in 1877 at the Théâtre de la Renaissance, as La Tzigane, with Ismaël and Zulma Bouffar in the cast, it was not a success. The first London performance in German did not take place until 1895. According to the archivist of the Royal Opera House, Covent Garden, "Twenty years after its production as a lyric opera in Vienna, Mahler raised the artistic status of Strauss's work by producing it at the Hamburg Opera House all the leading opera houses in Europe, notably Vienna and Munich, have brightened their regular repertoire by including it for occasional performance."The role of Eisenstein was written for a tenor, but is nowadays sung by a baritone.
The role of Orlofsky is a trouser role performed by a mezzo-soprano, sometimes by a countertenor and – an octave lower – by a tenor. The party of Act II allows productions to insert a variety of additional entertainment acts, such as music, comedy, or dance; the lengthy drunken soliloquy by Frosch in Act III permits variety in performance. Eisenstein's apartment Gabriel von Eisenstein, a Viennese man-about-town, has been sentenced to eight days in prison for insulting an official due to the incompetence of his attorney, Dr. Blind. Adele, Eisenstein's maid, receives a forged letter, purportedly from her sister, in the company of the ballet, but written by Falke, inviting her to Prince Orlofsky's ball, she pretends the letter says that her aunt is sick, asks her mistress Rosalinde for an evening off. Falke, Eisenstein's friend, arrives to invite him to the ball. Together, they recall a practical joke which Eisenstein played on Falke a few years ago, for which Falke is secretly planning a light-hearted revenge in kind.
Eisenstein bids farewell to Adele and his wife Rosalinde, pretending he is going to prison but intending to postpone jail for one day and have fun at the ball. After Eisenstein leaves, Rosalinde is visited by her former lover, the singing teacher Alfred, who serenades her. Frank, the governor of the prison, arrives to take Eisenstein to jail, finds Alfred instead. In order not to compromise Rosalinde, Alfred agrees to pretend to be Eisenstein and to accompany Frank. A summer house in the Villa Orlofsky It transpires that Falke, with Prince Orlofsky's permission, is using the ball as a way of getting revenge on Eisenstein; some time before, after a costume-party, Eisenstein had abandoned Falke drunk and dressed in a bat-costume, in the center of town, exposing him to ridicule the next day. As part of his scheme, Falke has invited Frank and Rosalinde to come the ball, all concealing their identities as well. Rosalinde pretends to be a masked Hungarian countess, Eisenstein goes by the name "Marquis Renard," Frank is "Chevalier Chagrin," and Adele, who has borrowed one of Rosalinde's dresses without permission, pretends she is an actress.
The ball is in progress and the Prince welcomes his guests. Eisenstein is introduced to Adele, but is confused as to who she is because of her striking resemblance to his maid.. Frank arrives, he and Ei
The Abbot Constantine (1925 film)
The Abbot Constantine is a 1925 French silent comedy film directed by Julien Duvivier and starring Jean Coquelin, Pierre Stéphen and Claude France. It is based on the novel The Abbot Constantine by Ludovic Halévy; the novel was remade as a sound film in 1933. A French Catholic Priest is horrified when he learns that two Protestant American women have moved in nearby; however he is soon on good terms with them, his nephew falls in love with one of them. Jean Coquelin as L'abbé Constantin Pierre Stéphen as Paul de Lavardens Claude France as Mrs. Scott Georges Lannes as Jean Reynaud Geneviève Cargese as Bettina Percival Louisa de Mornand as Comtesse de Lavardens Georges Deneubourg as Comte de Larnac Angèle Decori as Pauline Roberto Pla as Bernard, le jardinier Robby Guichard Lionel Salem Goble, Alan; the Complete Index to Literary Sources in Film. Walter de Gruyter, 1999; the Abbot Constantine on IMDb
In theatre, a farce is a comedy that aims at entertaining the audience through situations that are exaggerated and thus improbable. Farce is characterized by physical humor, the use of deliberate absurdity or nonsense, broadly stylized performances, it is often set in one particular location, where all events occur. Farces have been written for the film; the term farce is derived from the French word for "stuffing", in reference to improvisations applied by actors to medieval religious dramas. Forms of this drama were performed as comical interludes during the 15th and 16th centuries; the oldest surviving farce may be Le Garçon et l'aveugle from after 1266, although the earliest farces that can be dated come from between 1450 and 1550. The best known farce is La Farce de maître Pathelin from c. 1460. Satyr play Phlyax play Menander's Dyskolos Atellan Farce Plautus' Aulularia Querolus Xu Zhuodai, "The Fiction Material Wholesaler" Zhang Tianyi, "The Bulwark" Zhang Tianyi, "The Pidgin Warrior" Zhang Tianyi, "Mr. Hua Wei" Yang Jiang, "Forging the Truth" Devils on the Doorstep God of Cookery Kung Fu Hustle The Boy and the Blind Man, 13th century, oldest written French farce.
La Farce de maître Pierre Pathelin The Liar Molière: Tartuffe Molière: The Miser Voltaire: Candide Labiche: La Cagnotte and other plays. Alfred Hennequin and Alfred Delacour: Le Procès Veauradieux Georges Feydeau: Le Dindon Octave Mirbeau: Farces et moralités. Georges Feydeau: A Flea in Her Ear Marc Camoletti: Boeing Boeing and Pyjama pour Six Jean Poiret: La Cage aux Folles Carl Laufs and Wilhelm Jacoby: Pension Schöller Franz Arnold and Ernst Bach: Wochenende im Paradies Miles Tredinnick with Ursula Lyn and Adolf Opel:... Und Morgen Fliegen Wir Nach Miami Farces are popular in Marathi and Gujarati language theatre. A few such examples: Zopi Gelela Jaga Zala Dinuchya Sasubai Radhabai Pala Pala Kon Pudhe Pale To Gholaat Ghol Idhar Udhar Dekh Bhai Dekh Khichdi Instant Khichdi Sarabhai vs Sarabhai Kareena Kareena F. I. R. Taarak Mehta Ka Ooltah Chashmah Sajan Re Jhoot Mat Bolo Golmaal Hai Bhai Sab Golmaal Hai Comedy Nights with Kapil "The Kapil Sharma Show" Dario Fo: Morte accidentale di un anarchico known as Accidental Death of an Anarchist was first played on December 5, 1970 in Varese, Italy Japan has a centuries-old tradition of farce plays called Kyōgen.
These plays are performed as comic relief during the serious Noh plays. Following stage shows of Umer Shareef are popular: Bakra Qistoon Pay Buddha Ghar Pe Hai Yes Sir Eid, No Sir Eid Akbari Asghari Aunn Zara Azar Ki Ayegi Baraat Aleksander Fredro: Zemsta, 1834 Gabriela Zapolska: The Morality of Mrs. Dulska, 1906 Sławomir Mrożek: Tango, 1964. IMDb list of film and television farces
The Franco-Prussian War or Franco-German War referred to in France as the War of 1870, was a conflict between the Second French Empire and the Third French Republic, the German states of the North German Confederation led by the Kingdom of Prussia. Lasting from 19 July 1870 to 28 January 1871, the conflict was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if the Prussians succeeded; some historians argue that the Prussian chancellor Otto von Bismarck deliberately provoked the French into declaring war on Prussia in order to draw the independent southern German states—Baden, Württemberg and Hesse-Darmstadt—into an alliance with the North German Confederation dominated by Prussia, while others contend that Bismarck did not plan anything and exploited the circumstances as they unfolded. None, dispute the fact that Bismarck must have recognized the potential for new German alliances, given the situation as a whole.
On 16 July 1870, the French parliament voted to declare war on Prussia and hostilities began three days when French forces invaded German territory. The German coalition mobilised its troops much more than the French and invaded northeastern France; the German forces were superior in numbers, had better training and leadership and made more effective use of modern technology railroads and artillery. A series of swift Prussian and German victories in eastern France, culminating in the Siege of Metz and the Battle of Sedan, saw French Emperor Napoleon III captured and the army of the Second Empire decisively defeated. A Government of National Defence declared the Third French Republic in Paris on 4 September and continued the war for another five months. Following the Siege of Paris, the capital fell on 28 January 1871, a revolutionary uprising called the Paris Commune seized power in the city and held it for two months, until it was bloodily suppressed by the regular French army at the end of May 1871.
The German states proclaimed their union as the German Empire under the Prussian king Wilhelm I uniting Germany as a nation-state. The Treaty of Frankfurt of 10 May 1871 gave Germany most of Alsace and some parts of Lorraine, which became the Imperial territory of Alsace-Lorraine; the German conquest of France and the unification of Germany upset the European balance of power that had existed since the Congress of Vienna in 1815, Otto von Bismarck maintained great authority in international affairs for two decades. French determination to regain Alsace-Lorraine and fear of another Franco-German war, along with British apprehension about the balance of power, became factors in the causes of World War I; the causes of the Franco-Prussian War are rooted in the events surrounding the unification of Germany. In the aftermath of the Austro-Prussian War of 1866, Prussia had annexed numerous territories and formed the North German Confederation; this new power destabilized the European balance of power established by the Congress of Vienna in 1815 after the Napoleonic Wars.
Napoleon III the emperor of France, demanded compensations in Belgium and on the left bank of the Rhine to secure France's strategic position, which the Prussian chancellor, Otto von Bismarck, flatly refused. Prussia turned its attention towards the south of Germany, where it sought to incorporate the southern German kingdoms, Bavaria, Württemberg and Hesse-Darmstadt, into a unified Prussia-dominated Germany. France was opposed to any further alliance of German states, which would have strengthened the Prussian military. In Prussia, some officials considered a war against France both inevitable and necessary to arouse German nationalism in those states that would allow the unification of a great German empire; this aim was epitomized by Prussian Chancellor Otto von Bismarck's statement: "I did not doubt that a Franco-German war must take place before the construction of a United Germany could be realised." Bismarck knew that France should be the aggressor in the conflict to bring the southern German states to side with Prussia, hence giving Germans numerical superiority.
He was convinced that France would not find any allies in her war against Germany for the simple reason that "France, the victor, would be a danger to everybody – Prussia to nobody," and he added, "That is our strong point." Many Germans viewed the French as the traditional destabilizer of Europe, sought to weaken France to prevent further breaches of the peace. The immediate cause of the war resided in the candidacy of Leopold of Hohenzollern-Sigmaringen, a Prussian prince, to the throne of Spain. France feared encirclement by an alliance between Spain; the Hohenzollern prince's candidacy was withdrawn under French diplomatic pressure, but Otto von Bismarck goaded the French into declaring war by releasing an altered summary of the Ems Dispatch, a telegram sent by William I rejecting French demands that Prussia never again support a Hohenzollern candidacy. Bismarck's summary, as mistranslated by the French press Havas, made it sound as if the king had treated the French envoy in a demeaning fashion, which inflamed public opinion in France.
French historians François Roth and Pierre Milza argue that Napoleon III was pressured by a bellicose press and public opinion and thus sought war in response to France's diplomatic failures to obtain any territorial gains following the Austro-Prussian War. Napoleon III believed. Many in his court, such as Empress Eugénie wanted a
A libretto is the text used in, or intended for, an extended musical work such as an opera, masque, cantata or musical. The term libretto is sometimes used to refer to the text of major liturgical works, such as the Mass and sacred cantata, or the story line of a ballet. Libretto, from Italian, is the diminutive of the word libro. Sometimes other language equivalents are used for libretti in that language, livret for French works and Textbuch for German. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot; some ballet historians use the word libretto to refer to the 15–40 page books which were on sale to 19th century ballet audiences in Paris and contained a detailed description of the ballet's story, scene by scene. The relationship of the librettist to the composer in the creation of a musical work has varied over the centuries, as have the sources and the writing techniques employed.
In the context of a modern English language musical theatre piece, the libretto is referred to as the book of the work, though this usage excludes sung lyrics. Libretti for operas and cantatas in the 17th and 18th centuries were written by someone other than the composer a well-known poet. Pietro Trapassi, known asMetastasio was one of the most regarded librettists in Europe, his libretti were set many times by many different composers. Another noted, he who wrote the libretti for three of Mozart's greatest operas, for many other composers as well. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer, Bellini, Donizetti and Verdi; the French writers' duo Henri Meilhac and Ludovic Halévy wrote a large number of opera and operetta libretti for the likes of Jacques Offenbach, Jules Massenet and Georges Bizet. Arrigo Boito, who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli composed two operas of his own; the libretto is not always written before the music.
Some composers, such as Mikhail Glinka, Alexander Serov, Rimsky-Korsakov and Mascagni wrote passages of music without text and subsequently had the librettist add words to the vocal melody lines. Some composers wrote their own libretti. Richard Wagner is most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas. Hector Berlioz, wrote the libretti for two of his best-known works, La Damnation de Faust and Les Troyens. Alban Berg adapted Georg Büchner's play Woyzeck for the libretto of Wozzeck. Sometimes the libretto is written in close collaboration with the composer. In the case of musicals, the music, the lyrics and the "book" may each have their own author. Thus, a musical such as Fiddler on the Roof has a composer, a lyricist and the writer of the "book". In rare cases, the composer writes everything except the dance arrangements – music and libretto, as Lionel Bart did for Oliver!. Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen.
There are the preliminary steps of selecting or suggesting a subject and developing a sketch of the action in the form of a scenario, as well as revisions that might come about when the work is in production, as with out-of-town tryouts for Broadway musicals, or changes made for a specific local audience. A famous case of the latter is Wagner's 1861 revision of the original 1845 Dresden version of his opera Tannhäuser for Paris; the opera libretto from its inception was written in verse, this continued well into the 19th century, although genres of musical theatre with spoken dialogue have alternated verse in the musical numbers with spoken prose. Since the late 19th century some opera composers have written music to prose or free verse libretti. Much of the recitatives of George Gershwin's opera Porgy and Bess, for instance, are DuBose and Dorothy Heyward's play Porgy set to music as written – in prose – with the lyrics of the arias, duets and choruses written in verse; the libretto of a musical, on the other hand, is always written in prose.
The libretto of a musical, if the musical is adapted from a play, may borrow their source's original dialogue liberally – much as Oklahoma! used dialogue from Lynn Riggs's Green Grow the Lilacs, Carousel used dialogue from Ferenc Molnár's Liliom, My Fair Lady took most of its dialogue word-for-word from George Bernard Shaw's Pygmalion, Man of La Mancha was adapted from the 1959 television play I, Don Quixote, which supplied most of the dialogue, the 1954 musical version of Peter Pan used J. M. Barrie's dialogue; the musical Show Boat, different from the Edna Ferber novel from which it was adapted, uses some of Ferber's original dialogue, notably during the miscegenation scene. And Lionel Bart's Oliver! Uses chunks of dialogue from Charles Dickens's novel Oliver Twist, although it bills itself
The Ancient Greek language includes the forms of Greek used in Ancient Greece and the ancient world from around the 9th century BCE to the 6th century CE. It is roughly divided into the Archaic period, Classical period, Hellenistic period, it is succeeded by medieval Greek. Koine is regarded as a separate historical stage of its own, although in its earliest form it resembled Attic Greek and in its latest form it approaches Medieval Greek. Prior to the Koine period, Greek of the classic and earlier periods included several regional dialects. Ancient Greek was the language of Homer and of fifth-century Athenian historians and philosophers, it has contributed many words to English vocabulary and has been a standard subject of study in educational institutions of the Western world since the Renaissance. This article contains information about the Epic and Classical periods of the language. Ancient Greek was a pluricentric language, divided into many dialects; the main dialect groups are Attic and Ionic, Aeolic and Doric, many of them with several subdivisions.
Some dialects are found in standardized literary forms used in literature, while others are attested only in inscriptions. There are several historical forms. Homeric Greek is a literary form of Archaic Greek used in the epic poems, the "Iliad" and "Odyssey", in poems by other authors. Homeric Greek had significant differences in grammar and pronunciation from Classical Attic and other Classical-era dialects; the origins, early form and development of the Hellenic language family are not well understood because of a lack of contemporaneous evidence. Several theories exist about what Hellenic dialect groups may have existed between the divergence of early Greek-like speech from the common Proto-Indo-European language and the Classical period, they differ in some of the detail. The only attested dialect from this period is Mycenaean Greek, but its relationship to the historical dialects and the historical circumstances of the times imply that the overall groups existed in some form. Scholars assume that major Ancient Greek period dialect groups developed not than 1120 BCE, at the time of the Dorian invasion—and that their first appearances as precise alphabetic writing began in the 8th century BCE.
The invasion would not be "Dorian" unless the invaders had some cultural relationship to the historical Dorians. The invasion is known to have displaced population to the Attic-Ionic regions, who regarded themselves as descendants of the population displaced by or contending with the Dorians; the Greeks of this period believed there were three major divisions of all Greek people—Dorians and Ionians, each with their own defining and distinctive dialects. Allowing for their oversight of Arcadian, an obscure mountain dialect, Cypriot, far from the center of Greek scholarship, this division of people and language is quite similar to the results of modern archaeological-linguistic investigation. One standard formulation for the dialects is: West vs. non-west Greek is the strongest marked and earliest division, with non-west in subsets of Ionic-Attic and Aeolic vs. Arcadocypriot, or Aeolic and Arcado-Cypriot vs. Ionic-Attic. Non-west is called East Greek. Arcadocypriot descended more from the Mycenaean Greek of the Bronze Age.
Boeotian had come under a strong Northwest Greek influence, can in some respects be considered a transitional dialect. Thessalian had come under Northwest Greek influence, though to a lesser degree. Pamphylian Greek, spoken in a small area on the southwestern coast of Anatolia and little preserved in inscriptions, may be either a fifth major dialect group, or it is Mycenaean Greek overlaid by Doric, with a non-Greek native influence. Most of the dialect sub-groups listed above had further subdivisions equivalent to a city-state and its surrounding territory, or to an island. Doric notably had several intermediate divisions as well, into Island Doric, Southern Peloponnesus Doric, Northern Peloponnesus Doric; the Lesbian dialect was Aeolic Greek. All the groups were represented by colonies beyond Greece proper as well, these colonies developed local characteristics under the influence of settlers or neighbors speaking different Greek dialects; the dialects outside the Ionic group are known from inscriptions, notable exceptions being: fragments of the works of the poet Sappho from the island of Lesbos, in Aeolian, the poems of the Boeotian poet Pindar and other lyric poets in Doric.
After the conquests of Alexander the Great in the late 4th century BCE, a new international dialect known as Koine or Common Greek developed based on Attic Greek, but with influence from other dialects. This dialect replaced most of the older dialects, although Doric dialect has survived in the Tsakonian language, spoken in the region of modern Sparta. Doric has passed down its aorist terminations into most verbs of Demotic Greek. By about the 6th century CE, the Koine had metamorphosized into Medieval Greek. Ancient Macedonian was an Indo-European language at least related to Greek, but its exact relationship is unclear because of insufficient data: a dialect of Greek; the Macedonian dialect (or l
A parody. As the literary theorist Linda Hutcheon puts it, "parody... is imitation, not always at the expense of the parodied text." Another critic, Simon Dentith, defines parody as "any cultural practice which provides a polemical allusive imitation of another cultural production or practice". Parody may be found in art or culture, including literature, animation and film; the writer and critic John Gross observes in his Oxford Book of Parodies, that parody seems to flourish on territory somewhere between pastiche and burlesque. Meanwhile, the Encyclopédie of Denis Diderot distinguishes between the parody and the burlesque, "A good parody is a fine amusement, capable of amusing and instructing the most sensible and polished minds; when a formula grows tired, as in the case of the moralistic melodramas in the 1910s, it retains value only as a parody, as demonstrated by the Buster Keaton shorts that mocked that genre. According to Aristotle, Hegemon of Thasos was the inventor of a kind of parody.
In ancient Greek literature, a parodia was a narrative poem imitating the style and prosody of epics "but treating light, satirical or mock-heroic subjects". Indeed, the components of the Greek word are παρά para "beside, against" and ᾠδή oide "song". Thus, the original Greek word παρῳδία parodia has sometimes been taken to mean "counter-song", an imitation, set against the original; the Oxford English Dictionary, for example, defines parody as imitation "turned as to produce a ridiculous effect". Because par- has the non-antagonistic meaning of beside, "there is nothing in parodia to necessitate the inclusion of a concept of ridicule." Old Comedy contained parody the gods could be made fun of. The Frogs portrays the hero-turned-god Heracles as a glutton and the God of Drama Dionysus as cowardly and unintelligent; the traditional trip to the Underworld story is parodied as Dionysus dresses as Heracles to go to the Underworld, in an attempt to bring back a Poet to save Athens. In the 2nd century AD, Lucian of Samosata, a Greek-language writer in Syria, created a parody of travel/geography texts like Indica and The Odyssey.
He described the authors of such accounts as liars who had never traveled, nor talked to any credible person who had. In his named book True History Lucian delivers a story which exaggerates the hyperbole and improbable claims of those stories. Sometimes described as the first Science Fiction, along the lines of The Hitchhiker's Guide to the Galaxy, the characters travel to the moon, engage in interplanetary war with the help of aliens they meet there, return to the earth to experience civilization inside a 200 mile long creature interpreted as being a whale; this is a parody of Ctesias' claims that India has a one-legged race of humans with a single foot so huge it can be used as an umbrella, Homer's stories of one-eyed giants, so on. Roman writers explained parody as an imitation of one poet by another for humorous effect. In French Neoclassical literature, parody was a type of poem where one work imitates the style of another to produce a humorous effect; the Ancient Greeks created satyr plays which parodied tragic plays with performers dressed like satyrs.
In classical music, as a technical term, parody refers to a reworking of one kind of composition into another. More a parody mass or an oratorio used extensive quotation from other vocal works such as motets or cantatas; the term is sometimes applied to procedures common in the Baroque period, such as when Bach reworks music from cantatas in his Christmas Oratorio. The musicological definition of the term parody has now been supplanted by a more general meaning of the word. In its more contemporary usage, musical parody has humorous satirical intent, in which familiar musical ideas or lyrics are lifted into a different incongruous, context. Musical parodies may imitate or refer to the peculiar style of a composer or artist, or a general style of music. For example, The Ritz Roll and Rock, a song and dance number performed by Fred Astaire in the movie Silk Stockings, parodies the Rock and Roll genre. Conversely, while the best-known work of Weird Al Yankovic is based on particular popular songs, it often utilises wildly incongruous elements of pop culture for comedic effect.
The first usage of the word parody in English cited in the Oxford English Dictionary is in Ben Jonson, in Every Man in His Humour in 1598: "A Parodie, a parodie! to make it absurder than it was." The next citation comes from John Dryden in 1693, who appended an explanation, suggesting that the word was in common use, meaning to make fun of or re-create what you are doing. In the 20th century, parody has been heightened as the central and most representative artistic device, the catalysing agent of artistic creation and innovation; this most prom