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THE UNIVERSITY OF SOUTHERN CALIFORNIA
CENSORSHIP AND MAGICAL OPERA IN EARLY
NINETEENTH-CENTURY VIENNA
A DISSERTATION SUBMITTED TO
THE FACULTY OF THE DEPARTMENT OF MUSICOLOGY
IN CANDIDACY FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY
BY
LISA DE ALWIS
LOS ANGELES, CALIFORNIA
DECEMBER 2012
Object Description
| Title | Censorship and magical opera in early nineteenth-century Vienna |
| Author | de Alwis, Lisa |
| Author email | ldealwis@yahoo.com;Ldealwis@gmail.com |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Music (Historical Musicology) |
| School | Thornton School of Music |
| Date defended/completed | 2012-10-23 |
| Date submitted | 2012-11-26 |
| Date approved | 2012-11-27 |
| Restricted until | 2012-11-27 |
| Date published | 2012-11-27 |
| Advisor (committee chair) | Brown, Bruce A. |
| Advisor (committee member) |
Page, Tim Simms, Bryan R. Buch, David J. |
| Abstract | Theatrical works in late eighteenth- and early nineteenth-century Vienna were required to pass through a process of censorship before they could be performed in front of audiences. The criteria by which pieces were judged changed significantly during this period, and the dissertation shows how complex bureaucratic shifts affected censorship and theater personnel as well as the works themselves. As there is little recent scholarship on Viennese theatrical censorship, several manuscript sources are used in order to arrive at a better understanding of the subject. The discovery of an important censorship document written by the theater censor Franz Karl Hägelin fills gaps in our knowledge about censorship procedures and theatrical practices and illuminates the problems in scholarship of continued reliance upon nineteenth-century sources such as the publication, from 1897, of this document. ❧ The intersection of magical opera and censorship is particularly relevant to the politically turbulent period under consideration. One reason for which magical operas flourished, especially in the suburban theaters in Vienna, may have been that the authorities considered their content to be innocuous and useful for distracting audiences from the more pressing issues of the time. The four chapters of the dissertation treat the subjects of censorship and magical operas in various ways: in the first, a focus on manuscript sources that deal with censorship shows their implications for our current knowledge of the field. The second chapter is a case study of two works that were censored during different periods and how their music and their librettos were affected. In the third chapter, an examination of two parodies of Mozart and Schikaneder's ""Die Zauberflöte"" demonstrates how they reflect Viennese society of the time, and in the fourth chapter, a consideration of the role of the supernatural in several largely unknown magical operas that were popular during their time illuminates changes in attitude toward this subject and how they are reflected differently in the music and in the text. In its investigation of the musical and theatrical tastes of the lower classes of Viennese society and of how the government tried to influence and control them, the dissertation contributes to our knowledge in the fields of cultural studies and musicology. |
| Keyword | opera; censorship; Vienna; parody; Don Juan; Die Zauberflöte; The Magic Flute; Singspiel |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m |
| Rights | de Alwis, Lisa |
| Access conditions | The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given. |
| Repository name | University of Southern California Digital Library |
| Repository address | USC Digital Library, University of Southern California, University Park Campus MC 7002, 106 University Village, Los Angeles, California 90089-7002, USA |
| Repository email | cisadmin@usc.edu |
| Archival file | uscthesesreloadpub_Volume6/etd-deAlwisLis-1350.pdf |
Description
| Title | Page 1 |
| Full text | THE UNIVERSITY OF SOUTHERN CALIFORNIA CENSORSHIP AND MAGICAL OPERA IN EARLY NINETEENTH-CENTURY VIENNA A DISSERTATION SUBMITTED TO THE FACULTY OF THE DEPARTMENT OF MUSICOLOGY IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY LISA DE ALWIS LOS ANGELES, CALIFORNIA DECEMBER 2012 |
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