Barwick, L. (1994). The Filipino komedya and the Italian maggio: cross-cultural perspectives on related genres of popular music theatre
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Open Access
Type
Book chapterAuthor/s
Barwick, LindaAbstract
The Filipino komedya and the Italian maggio are contemporary traditions of sung popular theatre that use written librettos drawing on European chivalrous verse romances. Their present-day forms, themes and performance practice reflect the intercultural contact and conflict that ...
See moreThe Filipino komedya and the Italian maggio are contemporary traditions of sung popular theatre that use written librettos drawing on European chivalrous verse romances. Their present-day forms, themes and performance practice reflect the intercultural contact and conflict that have characterised their histories. After introducing case studies drawn from the Filipino komedya and the Italian maggio, the paper surveys the history of performance traditions associated with the chivalrous romance, including review of contemporary survivals in a number of performance media, and the use of writing in these and other popular traditions. In order to explain the striking parallels in present-day manifestations of both komedya and maggio, it is necessary to grasp the complex but largely hidden history of dramatic performances that have accompanied the published verse romances.
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See moreThe Filipino komedya and the Italian maggio are contemporary traditions of sung popular theatre that use written librettos drawing on European chivalrous verse romances. Their present-day forms, themes and performance practice reflect the intercultural contact and conflict that have characterised their histories. After introducing case studies drawn from the Filipino komedya and the Italian maggio, the paper surveys the history of performance traditions associated with the chivalrous romance, including review of contemporary survivals in a number of performance media, and the use of writing in these and other popular traditions. In order to explain the striking parallels in present-day manifestations of both komedya and maggio, it is necessary to grasp the complex but largely hidden history of dramatic performances that have accompanied the published verse romances.
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Date
1994-01-01Volume
16Publisher
Australian Academy of the HumanitiesLicence
OtherRights statement
This material is copyright. Other than for the purposes of and subject to the conditions prescribed under the Copyright Act, no part of it may in any form or by any means (electronic, mechanical, microcopying, photocopying, recording or otherwise) be altered, reproduced, stored in a retrieval system or transmitted without prior written permission from the University of Sydney Library and/or the appropriate author.Faculty/School
Sydney Conservatorium of Music, PARADISEC (Pacific And Regional Archive for Digital Sources in Endangered Cultures)Department, Discipline or Centre
Department of MusicCitation
Barwick, L. (1994). The Filipino komedya and the Italian maggio: cross-cultural perspectives on related genres of popular music theatre. In A. M. Gibbs (Ed.), Masks of time: drama and its contexts (pp. 71-108). Canberra: Australian Academy of the Humanities.Share