H2020Индивидуална стипендия2021–2023

SPECTACLECONOMICS · Financing Festivals, Music and Theatre: Real Expenses and Fictional Expenditures in France between the Sixteenth and Seventeenth Centuries

„Хоризонт 2020“ — Действия „Мария Склодовска-Кюри“

Период: 2021-10-01 → 2023-09-30
Финансиране от ЕС: 196 708 €
Участници: 1
Схема: MSCA-IF

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Накратко на български

Разходите за френските фестивали, музика и театър през XVI-XVII век се сравняват, за да се разберат реалните цени спрямо за inflated сумите в пропагандата. Това помага да се разбере финансовото управление на изкуствата и развитието на професиите в сценографията.

Този кратък обзор е генериран от изкуствен интелект

Кратко обяснение, генерирано от езиков модел по текста на CORDIS. Оригиналът е по-долу.

Резултати накратко

Financing Festivals, Music and Theatre: Real Expenses and Fictional Expenditures in France between the Sixteenth and Seventeenth Centuries

The main purpose of the project was to promote study of the economic history of French spectacle in the late 16th and early 17th centuries, opening a new line of research in a largely unexplored field of study, that of the costs of court and civic festivals, developing a research method that distinguished between “real” expenses (documented through accounting records) and “fictitious” expenditures (spread by the propaganda of official descriptions or the gossip of epistolary accounts). Normally, real expenditures are considerably lower than fictitious ones. The purpose of this project was to verify, through a survey of French accounting archives, whether the same phenomenon (already found at the Medici court in Florence) existed beyond the Alps. The other objective was to highlight some historiographical problems (such as the methods of financing civic and court performances, and finally the motivations behind these productions) and bring them to the attention of the scholarly European community of all possible disciplinary fields involved in the study of Renaissance and Early Modern spectacles, including theater historians, musicologists, economic historians, art historians, historians of the medieval and modern ages, and literary scholars. Succeeding in the stated objective would have brought with it another consequence: namely, to stimulate interest in and the study of the economic management of the performing arts in the period in question, investigating other fundamental aspects, such as the processes of production and modes of consumption (and thus the relationship between financing bodies and their ‘audiences’), and finally on the birth and evolution of the professions related to the performing arts.

Текст от CORDIS, на английски · Данни: CORDIS, © Европейски съюз

Цел на проекта

How were court and civic festivities funded in the early modern period? This innovative, interdisciplinary project aims to shed light on an often disregarded aspect of the history of theatre and music: the economic realities of the production of public and private ceremonial and entertainment in early modern France. Scholars have tended to examine multiple aspects of such festivities (their allegorical meanings, political function, the artists involved, the birth of new theatrical and musical genres, etc.), but there is still no specific, systematic research that has dealt with quantifying the expenditure on such ephemeral cultural activities that could themselves be the subject of both blame (as a wasteful use of time and money) and praise (propaganda in favour of the sovereign, the state, and civic communities). The conventional view of festivities as a case of lavish conspicuous consumption is often supported by one set of sources reporting on it, such as printed descriptions, diary entries, letters, and so forth. But the information contained within these documents is usually determined by their function (official propaganda) or its sources (hearsay and gossip). Financial accounts of these festivities themselves, however, often present a different picture wherein expenses are carefully controlled and subject to prudent budget management. The gap between these “real” expenses and “fictional” expenditures is akin to the gap between reality and theatrical illusion; it also forces consideration of the professional world of artists and artisans—and the opportunities available to them—who created these festivities under taut economic and other constraints. The results of this pioneering survey, alongside with those already conducted by the ER on Florentine festival expenses, will make a further step towards a comprehensive study of the economics of spectacle at a transnational and european level.

Оригинален текст от CORDIS (на английски).

Участници

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