Publications by members of Performing Premodernity
Performing Premodernity’s anthology volume, published on 20 June 2023:
Schneider, Magnus Tessing and Wagner, Meike (eds.). Performing the Eighteenth Century: Theatrical Discourses, Practices and Artefacts (Stockholm University Press, 2023): online here.
Click HERE to watch David Wiles’ IFTR keynote address (see p. 263 of the anthology), a video essay, and performances of Performing Premodernity’s production of Pygmalion.
Selected publications by members of Performing Premodernity:
Dotlačilová, Petra. Costume in the Time of Reforms: Louis-René Boquet Designing Eighteenth-Century Ballet and Opera, PhD thesis (Stockholm University, 2020).
Dotlačilová, Petra. ‘Costuming Musical Theater: Louis-René Boquet’s Work for Opera and Ballet in the Second Half of the Eighteenth Century’, in Dance Body Costume, ed. Petra Dotlačilová and Hanna Walsdorf, Prospektiven 2 (Leipziger Universitätsverlag, 2019), 103–160.
Dotlačilová, Petra. ‘From Idea to the Fabric: Costume Making at the Opera and Exchanges with Other Parisian Stages’, in The Fashioning of French Opera (1672–1791): Identity, Production, Networks, ed. Barbara Nestola, Benoît Dratwicki, Julien Dubruque, and Thomas Leconte (Turnhout: Brepols, 2023), 55–67.
Dotlačilová, Petra. ‘Material Matters: Dressing Jourdain and the Fake Turks’, in Ritual Design for the Ballet Stage: Revisiting the Turkish Ceremony in Molière’s Bourgeois gentilhomme (1670), ed. Hanna Walsdorf (Berlin: Frank & Timme, 2019), 199–245.
Dotlačilová, Petra. ‘Picturing Horror: Costume for Furies on the French Stage from 1650 to 1766’, in Terpsichore and Her Sisters: The Relationship between Dance and Other Arts, conference proceedings of the Early Dance Circle, ed. Trevor Williams and Barbara Segal (Cambridge: Victoire Press, 2017), 53–68.
Dotlačilová, Petra. ‘Visible and Invisible Hands: Costume-Making Practices of Italian Music Theatre in the Early Modern Era’, in Performing Arts and Technical Issues, ed. Roberto Illiano (Turnhout: Brepols, 2021), 309–340.
Dotlačilová, Petra and Walsdorf, Hanna (eds.). Dance Body Costume, Prospektiven 2 (Leipziger Universitätsverlag, 2019).
Gullstam, Maria. ‘Från nationalscen till passionsmusik: Rousseau och teatern i 1700-talets Sverige’, in Kritik och beundran: Jean-Jacques Rousseau och Sverige 1750–1850, ed. Jennie Nell and Alfred Sjödin (Lund: Ellerströms förlag, 2017), 315–348: online here.
Gullstam, Maria, ‘Pygmalion’s Power Struggles: Rousseau, Rameau and Galathée’, in Rousseau on Stage: Playwright, Musician, Spectator, ed. Maria Gullstam and Michael O’Dea (Oxford: Voltaire Foundation, 2017), 119–137.
Gullstam, Maria. Rousseau’s Idea of Theatre: From Criticism to Practice, PhD thesis (Stockholm University, 2020): online here.
Gullstam, Maria and O’Dea, Michael (eds.). Rousseau on Stage: Playwright, Musician, Spectator (Oxford: Voltaire Foundation, 2017).
Sauter, Willmar. Aesthetics of Presence: Philosophical and Practical Reconsiderations (Newcastle upon Tyne: Cambridge Scholars Publishing, 2021).
Sauter, Willmar. ‘The Digital Enchantment of Drottningholm’, Nordic Theatre Studies 26 (2014), 93–101: online here.
Sauter, Willmar. ‘Drottningholm Court Theatre and the Historicity of Performance’, Nordic Theatre Studies 23 (2011), 8-18.
Sauter, Willmar. ‘Förmodernitet – ett koncept för det ännu-inte-moderna: Estetisk historicitet som länk mellan då och nu’, Scandia 81, no. 2 (2015), Supplement, 50–70.
Sauter, Willmar. ‘A Theatrophobic Dramatist: J.-J. Rousseau’s Position in Theatre Historiography and on Today’s Stage’, in Rousseau on Stage: Playwright, Musician, Spectator, ed. Maria Gullstam and Michael O’Dea (Oxford: Voltaire Foundation, 2017), 227–253.
Sauter, Willmar and Wiles, David. The Theatre of Drottningholm – Then and Now: Performance between the 18th and 21st Centuries (Stockholm: Acta Universitatis Stockholmiensis, 2014): online here.
Schneider, Magnus Tessing. ‘Dene Barnett’s Eighteenth Century, Or, What Is Historically Informed Performance?’, Performing Premodernity Online 2 (January 2015), 1–8: here.
Schneider, Magnus Tessing. ‘Francesco Benucci as Actor’, Newsletter of the Mozart Society of America 25, no. 1 (Spring 2021), 6–11: online here.
Schneider, Magnus Tessing. ‘Historisk bevidst dramaturgi’, in Hvad med teaterhistorien?, ed. Erik Hvidt and Per Lykke (Copenhagen: Multivers, 2016), 259–277.
Schneider, Magnus Tessing. ‘Introduction’, in Felicity Baker, Don Giovanni’s Reasons: Thoughts on a Masterpiece, edited and with an introduction by Magnus Tessing Schneider (Berlin: Peter Lang, 2021), 11–26.
Schneider, Magnus Tessing. ‘The Judgement of Rousseau: Paride ed Elena by Gluck and Calzabigi (Vienna, 1770)’, in Rousseau on Stage: Playwright, Musician, Spectator, ed. by Maria Gullstam and Michael O’Dea (Oxford: Voltaire Foundation, 2017), 255–284.
Schneider, Magnus Tessing. ‘Kierkegaard and the Copenhagen Production of Mozart’s Don Giovanni’, European Romantic Review 29, no. 1 (2018), 43–50.
Schneider, Magnus Tessing. ‘Legacy of an Anti-Patriot: Calzabigi’s Elvira in Naples, 1794’, in Stage / Page / Play: Interdisciplinary Approaches to Theatre and Theatricality, ed. by Anna Lawaetz and Ulla Kallenbach (Copenhagen: Multivers, 2016), 37–54.
Schneider, Magnus Tessing. The Original Portrayal of Mozart’s Don Giovanni (London: Routledge, 2021): online here.
Schneider, Magnus Tessing. ‘A Song of Other Times: The Transformation of Ossian in Calzabigi’s and Morandi’s Comala (1774/1780)’, LIR.journal 11 (2019), 24–47: online here.
Schneider, Magnus Tessing and Tatlow, Ruth (eds.). Mozart’s La clemenza di Tito: A Reappraisal (Stockholm University Press: Stockholm, 2018): online here.
Wagner, Meike. ‘Maschinen-Dramaturgie: Ifflands Produktion von Das Labyrinth oder Der Kampf mit den Elementen aus der Perspektive des Regiebuchs’, in Das Regiebuch: Zur Lesbarkeit theatraler Produktionsprozess in Geschichte, ed. Martin Schneider (Göttingen: Wallstein, 2021), 145–179.
Wagner, Meike. ‘Theatergeschichte machen: Überlegungen zu einer praxeologischen Theaterhistoriographie’, in Methoden der Theaterwissenschaft, ed. Christopher Balme and Berenika Szymanski (Tübingen: Narr, 2020), 59–80.
