Název: Palace protégée and pop-star : Elsa Enkel in Greece, 1913–1933
Zdrojový dokument: Theatralia. 2024, roč. 27, č. 2, s. 64-79
Rozsah
64-79
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2024-2-5
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/digilib.80610
Type: Článek
Jazyk
Licence: CC BY-NC-ND 4.0 International
Přístupová práva
otevřený přístup
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Abstrakt(y)
Elsa Enkel was a German-born dance artist in operetta and revue theatre, active in early-20th-century Greece. Her career was heavily subsidised by the Greek monarchy in exchange for promoting royalist positions in the turbulent years around World War I; but she was also part of the rapidly developing entertainment market, adapting to ticket-buying audiences' tastes. Enkel's work exemplifies the tensions of light musical theatre ballet between royalist and market-driven pressures, and illustrates the role of this ballet as a Western cultural export that participated in Greece's development of a West-leaning, post-Ottoman identity.
Note
This research was funded in whole or in part by the Austrian Science Fund (FWF) [T1336-G].
Reference
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[34] VASSILEIOU, Areti. 2005. Oi fternes pou miloun. I proti gnorimia tis athinaikis mousikis skinis me tous amerikanikous horous [The Heels that Speak. The First Encounter of the Athenian Musical Scene with American Dances]. Paravasis 6 (2005): 43–56.
[2] BEATON, Roderick. 2019. Greece. Biography of a Modern Nation. Chicago: University of Chicago Press, 2019.
[3] BECKER, Tobias. 2017. Globalizing Operetta before the First World War. The Opera Quarterly 33 (2017): 1: 7–27.
[4] CARTER, Alexandra. 2005. Dance and Dancers in the Victorian and Edwardian Music Hall Ballet. New York: Routledge, 2005.
[5] CLOGG, Richard. 2002. A Concise History of Greece. Cambridge: Cambridge University Press, 2002.
[6] EBROS. 1913. Theatra [Theatres]. Ebros (11. 10. 1913).
[7] EBROS. 1915. Is to Dimotikon Theatron [At the Municipal Theatre]. Ebros (6. 1. 1915).
[8] EBROS. 1916a. Pennies [Chords]. Ebros (25. 1. 1916).
[9] EBROS. 1916b. I htesini proti [Yesterday's premiere]. Ebros (17. 6. 1916).
[10] EBROS. 1916c. Nyktairinai skinai en Patrais [Night scenes in Patra]. Ebros (21. 9. 1916).
[11] Eva. Athens: Municipal Theatre, 1914. [Programme].
[12] GEORGAKAKI, Konstantza. 2013. I Efimeri Goitia tis Epitheorisis [The Ephemeral Beauty of Revue Theatre]. Athens: Polaris, 2013.
[13] GLON, Marie. 2014. Les Lumières chorégraphiques: Les maîtres de danse européens au coeur d'un phénomène éditorial. Unpublished PhD thesis. Paris: Ecole des Hautes Etudes en Sciences Sociales, 2014.
[14] GUTSCHE-MILLER, Sarah. 2015. Parisian Music-Hall Ballet, 1871–1913. Rochester: University of Rochester Press, 2015.
[15] HATZIPANTAZIS, Thodoros and Lila MARAKA. 2003. I Athinaïki Epitheorisi [Athenian Revue Theatre]. Athens: Estia, 2003.
[16] HEWITT, Andrew. 2005. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham/London: Duke University Press, 2005.
[17] KOURMOULAKIS, Konstantinos. 2020. Theatra ke theatriki epihirimaties kata tin periodo tou Mesopolemou – I periptosi tou Andrea Makedou [Theatres and Theatre Businesspeople in the Interwar Years – The Case of Andreas Makedos]. Unpublished PhD thesis. Athens: National and Kapodistrian University, 2020.
[18] LEON, Anna. 2023a. Choreographing proximity and difference. Vassos Kanellos' performance of Greekness as an embodied negotiation with Western dance modernity. Dance Research Journal 55 (2023): 1: 22–45.
[19] LEON, Anna. 2023b. Ballet at the movies or Dancing on the limits of American-ness: Thalia Zanou. In: Jennifer Atkins (ed.). Dance in US Popular Culture. Oxon: Routledge, 2023: 327–330.
[20] LEONTIS, Artemis. 2019. Eva Palmer Sikelianos: A Life in Ruins. Princeton/Oxford: Princeton University Press, 2019.
[21] LIAKOS, Antonis. 2019. O ellinikos 20os aionas [The Greek 20th Century]. Athens: Polis, 2019.
[22] MAKEDONIA. 1921. Theatrika [On theatre]. Makedonia (21. 5. 1921).
[23] MAO, Douglas and Rebecca L. WALKOWITZ. 2008. The New Modernist Studies. PMLA 123: 3 (May 2008): 737–748.
[24] MARAKA, Lila. 2006. O Horos stin Elliniki Theatriki Epitheorisi. Sistatiko, Domiko ke Litourgiko Stihio tou Epitheorisiakou Theatrikou Theamatos [Dance in Greek Revue Theatre. Substantial, Structural and Functional Element of Revue Theatre Spectacle]. Paravasis 7 (2006): 79–88.
[25] MELAS, Spyros. 1933. I Elsa [Elsa]. Athinaika Nea (5. 1. 1933).
[26] ONO, Sayako. 2016. Ballet in Japan: Reconsidering the Westernisation of Japanese Ballet. Journal of Glocal Studies 3 (2016): 1–24.
[27] SEIRAGAKIS, Manolis. 2009. To Elafro Mousiko Theatro sti Mesopolemiki Athina [Light Musical Theatre in Inter-war Athens]. Athens: Kastaniotis, 2009.
[28] SEIRAGAKIS, Manolis. 2018. Integrating major (Inter)national Greek Composers during the National Schism. The Greek Music Theatre Company of Apostolos Contaratos 1915–1917. Unpublished text of conference presentation. 2018.
[29] SIDERIS, Giannis. 2000. Istoria tou Neou Ellinikou Theatrou [History of Modern Greek Theatre]. Athens: Kastaniotis, 2000.
[30] SKRIP. 1915a. Theatriki Evdomas [Theatre week]. Skrip (11. 1. 1915).
[31] SKRIP. 1915b. To gevma ton ptohon [The lunch of the poor]. Skrip (24. 7. 1915).
[32] SORBA, Carlotta. 2006. The origins of the entertainment industry: the operetta in late nineteenth-century Italy. Journal of Modern Italian Studies 11 (2006): 3: 282–302.
[33] TSINTZILONI, Steriani. 2015. Koula Pratsika and her Dance School. Embracing Gender, Class and the Nation in the Formative Years of Contemporary Dance Education in Greece. Research in Dance Education 16 (2015): 3: 276–290.
[34] VASSILEIOU, Areti. 2005. Oi fternes pou miloun. I proti gnorimia tis athinaikis mousikis skinis me tous amerikanikous horous [The Heels that Speak. The First Encounter of the Athenian Musical Scene with American Dances]. Paravasis 6 (2005): 43–56.