Titlebook: Border-Crossing and Comedy at the Théâtre Italien, 1716–1723; Matthew J. McMahan Book 2021 The Editor(s) (if applicable) and The Author(s)

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狂热文化

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Stereotypes, Self-Deprecation, and Refracted Satire,, they used the Italian stereotype as license to mock the French. Referring to examples from vaudeville, film, and television, McMahan analyzes the comic potential, as well as the risks, of self-deprecation and indirect satire.

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Improvisation, Emotion, and Nationalized Esthetics,French fascination with it to prompt a transnational discussion on acting. Consequently, this chapter compares and contrasts writings from the time period on French acting techniques, such as déclamation, with those on Italian improvisation.

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Epilogue,gists such as Pierre Bourdieu and Michel de Certeau, who contend that immigration often occurs through a process of improvisation, momentary response, and revision that leads to new options and possibilities for both the immigrant and the host culture.

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Logic Program Synthesis and Transformationns concerning the Italian theatre at the time. Through a series of comparisons to transnational theatre companies throughout time, McMahan also considers the politics of representation and how the work of the Nouveau Théâtre Italien in Paris impacted the reputation of the Italian nation abroad.

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Deductive Inference in Automatic Programmingve and divisive critique of the host nation, a close look at the theoretical defenses provided by Riccoboni and his collaborators reveals that the Nouveau Théâtre Italien sought to position the parody as a communal strengthening device, a means for these migrant performers to forge a sense of belonging in their new home.