[Archives de l'Opéra. Régie. Journal de régie. Première série]

Calendrier des spectacles et des répétitions. - À partir du 28 octobre, jour de l'incendie de l'Opéra, rue Le Peletier, jusqu'au 31 décembre, le livre de régie mentionne les représentations de l'Opéra-Comique, du Théâtre-Italien, et d'autres théâtres de Paris. En date du 28 octobre, état général du personnel de l'Opéra, récit de l'incendie. - Contient 3 pièces additionnelles

[Archives de l'Opéra. Régie. Journal de régie. Première série]

Calendrier des spectacles et des répétitions. - Ne comporte plus la liste du personnel de la régie. Mentionne également les répétitions et les premières de l'Opéra-Comique et du Théâtre-Italien. - Contient 20 pièces additionnelles

A propos des auriges chrétiens.

Des auriges chrétiens: cette expression peut paraître surprenante dans la mesure où le chirstianisme interdit cette profession. Les Pères de l'Èglise ont toujours critiqué les spectacles, en particulier les ludi circenses à cause de leur contenu idolâtrique et de l'attrait qui'ils continuaient à exercer au sein de la population. Pourtant, cette contradiction existe, puisque nous avons des tèmoignanges épigraphiques qui confirment la réalité de ce paradoxe.

L'invention de la race : des représentations scientifiques aux exhibitions populaires

4e de couv.: Comment est né le concept moderne, scientifique, de "race" ? Pourquoi est-il devenu si rapidement hiérarchique, distinguant les "races inférieures" des "races supérieures" ? Et comment ce concept a-t-il pu revêtir une telle importance, aussi bien au sein de la communauté scientifique qu'auprès du grand public, au cours du XIXe siècle et du début du XXe siècle, jusqu'à être utilisé pour expliquer l'histoire et le devenir de l'humanité ? Autant d'interrogations, à l'origine de ce livre. L'invention de la race analyse la genèse des conceptions scientifiques de la "race", et montre que les nouvelles techniques de mesure et de représentation des corps racialisés opèrent une révolution visuelle majeure, inscrivant la différence humaine dans la biologie. Cet ouvrage avance qu'à partir d'une origine européenne, l'idée de race s'est étendue - par les connexions transnationales de réseaux scientifiques et marchands -, à tout l'Occident, mais aussi au Japon, à la Corée et à une partie de la Chine. Partout, elle suscite représentations et politique raciales discriminatoires. L'ouvrage montre aussi que les théories sur les hiérarchies raciales ont influencé les spectacles ethniques (dont les zoos humains), les expositions internationales et coloniales, la photographie ou les collections ethnographiques. Les expositions internationales et coloniales et l'internationalisation des spectacles ethniques ont largement véhiculé ces hiérarchies, contribuant forger une vision du monde fondée sur l'inégalité des races.

The revival of international solidarity : the Internationale Arbeiterhilfe, Willi Münzenberg and the Comintern in Weimar Germany, 1921-1933

The aim of the study is to write the first comprehensive history of the Internationale Arbeiterhilfe (International Workers’ Relief) and its message of international solidarity during the Weimar Republic, 1921–1933. The Arbeiterhilfe was the Communist International’s (Comintern) primary international solidarity organisation of the time. The work is identified as a contribution to the transnational history of the interwar period as its main focus is not on governmental politics or intra-state relations, but is focused on the transnational world of an international organisation. The history of the Arbeiterhilfe provides the main springboard from which to write a contextually-based analysis of international solidarity during the Weimar Republic. The study highlights for the first time the importance of the German communist Willi Münzenberg (1889–1940), as the leader of the Arbeiterhilfe, in the history of international solidarity. The main question of this study is how an explicit use of language coupled with the visualisation and practices of solidarity were created through the Arbeiterhilfe. How was solidarity actually envisaged, organised and brought to life by the Arbeiterhilfe in Weimar Germany? How did its expressions of solidarity change over time? Throughout the thesis, the changing and complex character of solidarity is analysed. How was the Arbeiterhilfe’s message of solidarity created and changed in relation to the Comintern and the Soviet Union’s policies? How did the Arbeiterhilfe create a new culture of international solidarity thought film, cinema, illustrated newspapers and the organising of mass spectacles of international solidarity? The Arbeiterhilfe had its international headquarters in Berlin which functioned as the base, one could argue, for some of the inter-war period’s most spectacular solidarity campaigns. The Arbeiterhilfe constitutes a significant case study of an early international organisation as it was one of the first international organisations for global (albeit not universal) international solidarity which had unparalleled prospects to develop new transnational identifications and social ties. It could consequently be suggested that the Arbeiterhilfe in several ways could be perceived as a predecessor to several post-1945 transnational solidarity organisations and International Non-Governmental Organisations (INGOs).

Rakennettu areenatähteys. Rock-konsertti globalisoituvana mediaspektaakkelina 1965-2013

Kulttuurihistorian alaan kuuluva artikkeliväitöskirja edustaa populaarikulttuurin ja tarkemmin populaarimusiikin tutkimusta kiinnittyen ennen muuta audiovisuaalisen mediakulttuurin muutokseen 1960-luvulta tähän päivään. Väitöskirja käsittelee Pink Floydin, The Rolling Stonesin, U2:n ja Peter Gabrielin areenakonserttikiertueita ja kyseisten kiertueiden lavasuunnittelijoiden Mark Fisherin ja Robert Lepagen toimintaa. Tutkimus tarkastelee, miten jättiläismäiset mediaspektaakkelit saivat alkunsa, ammattimaistuivat ja globalisoituivat vuosien 1965–2013 välillä. Analyysin kohteena on se, miten ne rakentuivat ja toisaalta rakensivat areenatähteyttä sekä uudistivat audiovisuaalista kulttuuria. Konserttien avainkohtia ja populaarijulkisia aineistoja hermeneuttisesti tulkiten ja lähilukien sekä historiallisesti kontekstoiden tutkimus rakentaa kulttuurihistoriallisen kokonaistulkinnan viihdeteollisuuden mahtipontiseksi muotoutuneen ilmiön tuotannosta. Tutkimuksen lähtökohtana on populaarimusiikkitähden vaikutus 1900-luvun jälkipuoliskon ja 2000-luvun alun massamediassa ja kulttuurissa. Tarkastelemalla areenarockin mediaspektaakkeleiden kulttuurihistoriaa tutkimus ottaa kantaa niihin kaupallisiin, teknologisiin ja poliittisiin muutoksiin, jotka ovat viimeisen viidenkymmenen vuoden aikana mahdollistaneet tähteyden globaalia leviämistä. Tämän muutoksen seurauksena lähes kenestä tahansa voi tulla tähti ja lähes mistä tahansa kulttuuri-ilmiöstä voi tulla populaaria. Mutta vain jotkut tähdet ja yhtyeet esiintyvät täysille areenoille. Areenakonsertit ovatkin tähteysilmiön keskeisiä huipentumia, globaalin viihdekulttuurin äärimmäisiä manifestaatioita. Nykyiset areenoilla tapahtuvat mediaspektaakkelit ovat monimutkaista audiovisuaalista musiikkiteatteria, jossa kaikkien esityksen elementtien – teatraalisten ja audiovisuaalisten efektien – tulee olla mahdollisimman suuria ja taitavasti rytmitettyjä. Mediaspektaakkelien analyysissa tulee erityisesti kohdistaa huomio erilaisten medioiden suhteisiin sekä kysymykseen siitä, miten suuri osa audiovisuaalista konserttikokemusta itse asiassa on ennalta rakennettua ja nauhoitettua. Lavasuunnittelu yhdistää esiintyjän teatraaliset eleet ja esiintymisen laajempaan audiovisuaaliseen ja ennalta mietittyyn temaattiseen kokonaisuuteen. Tähän kuuluvat suurten konserttilavojen kertakäyttöarkkitehtuuri, valon ja pintojen yhdistäminen populaariin kuvastoon sekä itse teoksien audiovisuaalisen kerronnan historiallisiin ja nostalgisiin viitteisiin.

Inviting the Audience – Interactive, Participatory, and Social Television in Finland

The television and the ways it has invited the audience to take part have been changing during the last decade. Today’s interaction, or rather participation, comes from multiplatform formats, such as TV spectacles that combine TV and web platforms in order to create a wider TV experience. Multiplatform phenomena have spread television consumption and traditional coffee table discussions to several different devices and environments. Television has become a part of the bigger puzzle of interconnected devices that operates on several platforms instead of just one. This thesis examines the Finnish television (2004–2014) through the notion of audience participation and introduces the technical, thematic, and social linkages as three different phases, interactive, participatory, social, and their most characteristic features in terms of audience participation. The aim of the study is also to focus on the idea of a possible change by addressing the possible and subtler variations that have taken place through the concept of digital television. Firstly, Finnish television history has gone through numerous trials, exploring the interactive potential of television formats. Finnish SMS-based iTV had its golden era around 2005, when nearly 50% of the television formats were to some extent interactive. Nowadays, interactive television formats have vanished due to their negative reputation and this important part of recent history is mainly been neglected in the academic scope. The dissertation focuses also on the present situation and the ways television content invites the audience to take part. “TV meets the Internet” is a global expression that characterises digital TV, and the use of the Web combined with television content is also examined. Also the linkages between television and social media are identified. Since television can nowadays be described multifaceted, the research approaches are also versatile. The research is based on qualitative content analysis, media observation, and Internet inquiry. The research material also varies. It consists of primary data: taped iTV formats, website material, and social media traces both from Twitter and Facebook and secondary data: discussion forums, observations from the media and Internet inquiry data. To sum up the results, the iTV phase represented, through its content, a new possibility for audiences to take part in a TV show (through gameful and textual features) in real-time. In participatory phase, the most characteristic features from TV-related content view, is the fact that online platform(s) were used to immerse the audience with additional material and, due to this, to extend the TV watching enjoyment beyond the actual broadcast. During the Social (media) phase, both of these features, real-timeness, and extended enjoyment through additional material, are combined and Facebook & Twitter, for example, are used to immerse people in live events (in real-time) via broadcast-related tweets and extra-material offered on a Facebook page. This thesis fills in the gap in Finnish television research by examining the rapid changes taken place on the field within the last ten years. The main results is that the development of Finnish digital television has been much more diverse and subtle than has been anticipated by following only the news, media, and contemporary discourses on the subject of television. The results will benefit both practitioners and academics by identifying the recent history of Finnish television.

Erkki Huhtamon magnum opus

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