还有一篇
15. 妇女剧作家*
P1. 阐述一个历史现象：说法国妇女（female composer）在1781年之前，在歌剧里面的作用都在一个时期内法国歌剧女作家处于stable状态(此处有题)，但其实很少。但从1820年以后，女作家和作品数都剧增。讲法国17世纪到18世纪的，法国的这个戏剧发展史分三个阶段：妇女作家 1740- 1742 年只有4个 1743-1770年只有2个，突然到1770-1820年16个，第三个阶段突然猛女大爆发，堪称欧洲乃至世界戏剧史上独一无二。尤其是在1779年和1783年的剧作获得十大全法国最卖座drama。/然后举了个例子，说是有两部女性写的作品在当初的10部most popular里distinguish，而且他们的地位相当于现在的best-selling books（这里好好读，这个细节居然考了俺连续两题哦。）妇女作家在这个特定的时间段突然涌现，这个现象不但前无古人后无来者，在当时世界也是unique的（考点），非常神奇值得研究。
1)那个时期opera从贵族（elite）专享转变为大众也可以享受，demand↑，妇女作家↑。opera变成了public的主要entertainment（这里也有题）。各个剧院有竞争压力，不同的人群需要不同题材的作品，题材不得不更新颖。于是那些编剧就到处寻求剧本,正好这个时候女性作品很多,他们就顺水推舟的采用了。
2)法国大革命使得原来戏剧集中在皇家和政治题材的戏剧题材民主化（考了一道题），对女性地位也有了帮助和提高，思想更开明。原来法国大革命是大的时代背景，群众人心思变，社会风气大振，大家想看点有时代特征，当然女人也是目标，（题外话想起来高中历史课本的那幅著名的裸女带领大家攻占巴士底狱没有，就是这个意思）
3)现在越来越多的新兴的剧院出现了，原来法国很多剧院本来都是皇家剧院,是皇家专用。但现在皇家剧院被剥夺了特权。
4)以前的patron的system逐渐衰退不存在了。原来这个system 偏好 privilege connection，也就是说过去写剧本要靠和皇室有关系。现在institution给出一个固定的标准，让许多作家可以实现自己作品的舞台梦。现在大伙都不吝了，同时女性在写书和写诗方面得到了承认，而且女作家发现了能够cater的市场，所以给了女性组偶全家更多机会。而且哦，赞助商也不再限制与给男性剧作家砸银子了。
Q1. 第一道题就是说这里面这两个点名的歌剧和其它的10个没点名的有啥不一样？
Q2. 说这里10个歌剧和其它的70个有啥不一样？
狗主解释：原文描述这两个歌剧的不过三四行，用了一个词：流行小说，然后居然问：
Q4. 问那个时期的哪一个特点是（或者不是）那个时代推动女性歌剧的因素：
Q5. 那10个歌剧的特点?
狗主解释：感觉这个文章不是很难,但是就是前2道题目出的比较刁钻.
我当时真没有看出来,从哪里可以推出其它10个歌剧的特点？
貌似那句话中有个 had the distinction of the other 10 operas？
Q6. 第一段中有两个女性的作品是作为典型被提出来，选项哪个符合他们的特点?
我选的都不是男的写的exclude male composer。。。。；
Q7. 好像是问1781年之前女性作品不多是因为什么？
Q9. prior to 1791(一个年代），神马是被suggest的？
我选的是royal基本是不给大众开放的。。好像是我印象不是很深刻了（本月V38狗主）
1)这篇巨长，有下拉条,1页1/4
2)法国歌剧，特别注意文中说的两个由女性创造的TOP10之列的两个OPERA那部分.总共两三句话，但是竟有两道题，而且选项很搞，要反复推敲
3)感觉这个文章不是很难,但是就是前2道题目出的比较刁钻.
原文已确认：The women who were able to turn their educational limitations to their advantage gained access to the opera stage as composers and librettists in unprecedented numbers in late-eighteenth- and early-nineteenth-century France. Although women still formed only a fraction of the total number of composers and librettists, one can nevertheless speak of an explosion of women creating opera as compared with earlier periods. In the first fifty years of opera in France (1670-1720), only approximately seven works by three women are known (see appendix). In the next fifty-year period (1720-70), the figures remain relatively stable with nine operas by four women. But in the fifty years between 1770 and 1820, at least forty-four operas by nineteen women are known to have been composed or performed. This multiplication of female-authored operas constituted a sufficient critical mass for some of these works to be singled out as great successes. Indeed, two of them, Catherine, ou la belle fermitre (Catherine, or the beautiful farmer-woman) by Julie Candeille and Sapho by Constance Pipelet (later de Salm), ranked among the ten most-performed dramatic works in Paris in 1793 and 1795, respectively. This was a significant accomplishment given the social and artistic importance assigned to opera during this period, as well as the large number of new operas created every year-a feat comparable to writing a best-selling novel today. Furthermore, this phenomenon was unique in the history of opera. Not only was it unequaled in the nineteenth or twentieth centuries, but even in the eighteenth century no such proliferation of opera by women occurred anywhere else in Europe." Although opera continued to grow in popularity in the nineteenth century, and women continued to be active composers and librettists (mostly in the lighter genre of operetta), there was a decrease both in the number of women and in the number of their works. Most importantly, none of the works came close to reaching the same heights of popularity as the works of women like Candeille and Pipelet.
What made this explosion of opera by women possible? Certainly the increased demand for opera in general led to greater production of works, and women benefited from this overall trend. Starting in the middle of the eighteenth century, opera became the entertainment of choice for a larger proportion of the French people rather than appealing exclusively to an elite public. The influence of Italian comic opera and improvised farce chiseled away at the stagnating trage'die-lyrique. As a result of the more diverse audiences, theaters needed a constant supply of new operas in various genres. In response to this more competitive market and pressure from authors-as well as larger political factors-the institution of opera became more democratic over the course of the eighteenth century. Rather than relying on an earlier system of patronage which favored authors who had privileged connections, theaters used more substantive and formal standards of evaluation. They instituted submission procedures designed to judge and reward works on the basis of their merits. At a time when women were succeeding in other creative endeavors (novels and painting, for example) women composers and librettists were attracted by the promise of having their works selected by what they considered to be an impartial tribunal. The abolition of privileges for the royal theaters during the Revolutionary period resulted in a tremendous multiplication of new theaters, giving authors and composers even more chances to see their works staged-especially because opera fulfilled the dual (and contradictory) roles of providing an escape from Revolutionary violence and of being a forum for political education.
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发表于 2013-1-17 23:03:06
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