Ottoman Empire and European Theatre Vol. IV

The book series “Ottomania” researches cultural transfers between the Ottoman Empire and Europe, with the performing arts as its focus.

In Ottoman Empire and European Theatre, vol. IV: Seraglios in Theatre, Music and Literature, the series continues to explore one of the most popular subjects of eighteenth-century art: the seraglio and its harem. This volume provides a deeper understanding of the seraglio's various manifestations in the artworks, music and theatre of the Austrian/ Habsburg and central European regions, including interconnections with Italy and France, from the sixteenth to the nineteenth centuries.

The studies examine descriptions of the seraglio by European diplomats, the seraglio's visual traces in European artworks, and depictions of the seraglio in eighteenth-century Austrian Singspiele. They also consider seraglios from the Ottoman point of view and investigate the music of the seraglio in eighteenth-century opera.



Michael Hüttler, Dr. phil., studied theatre, film and media studies as well as journalism and communication studies at Vienna University; he has been conducting research for the DON JUAN ARCHIV WIEN since 2001. From 2007 to 2010 he has been Director of DON JUAN ARCHIV WIEN and since 2011 he is Director of HOLLITZER Verlag.



Hans Ernst Weidinger, Gewerke, Dr. phil., studied law, classical languages, archeology, theatre studies and art history at Vienna University, and dance, voice and piano in Vienna and Prague. Since the 1970s he has dedicated himself to the history of Don Juan materials from its origins until the end of the eighteenth century. He founded the DON JUAN ARCHIV WIEN in the anniversary year 1987.



Both editors are conveners of the international symposia series "Ottoman Empire and European Theatre", which has been held regularly since 2008 in Istanbul and Vienna and whose proceedings are published in the book series "Ottomania".



Ouverture

* Michael Hüttler (Vienna), Hans Ernst Weidinger (Vienna/Florence): Editorial

Prologue:

* Gülgûn Üçel-Aybet (Istanbul) : Banqueting at the Seraglio, as Described by European Diplomats of the Sixteenth and Seventeenth Centuries

Act I: The Painted Seraglio

* Nina Trauth (Brussels): Fantasies of the Harem in European Portraiture of the Baroque Period

* Darja Koter (Ljubljana): Traces of the Seraglio in the Artworks in Slovenia: Depictions of Dance, Music and Theatre from Seventeenth-Century Turqueries to Johann Josef Karl Henrici’s Paintings in the Late Eighteenth Century

* Polona Vidmar (Maribor): Count Stefano Carli’s La Erizia (1765): In the Harem of Sultan Mehmed II

Act II: The Seraglio in Italian–Ottoman Context

* Luca Scarlini (Milan): The Turks in Italy, or Another Mask of Don Juan: Mirrorings

* Alexandre Lhâa (Aix-En-Provence): The Metamorphosis of Tarare: Political Uses and Receptions of a 'Seraglio Intrigue’ from the Ancien Régime to the Restoration (1787–1826)

Act III: The Seraglio in Austrian Eighteenth-Century Singspiele

* Michael Hüttler (Vienna): Joseph Friebert’s Singspiel Das Serail (c.1778) in the Don Juan Archiv Wien: Provenance and State of Research

* Tatjana Marković (Vienna): Das Serail (c.1778) by Joseph Friebert as an Embodiment of Enlightened Absolutism

* Strother Purdy (Milwaukee/WI): Irene, Doomed Queen of the Seraglio: A Wise Austrian Looks at Moslem-Christian Violence (Vienna 1781)

Act IV: Harem Fantasies on the Late Eighteenth- and Early Nineteenth-Century Austrian Stage

* John Sienicki (Grand Rapids/MI): But Not All Are Gentlemen: The Dark Side of the Harem Fantasy in the Works of Perinet, Spiess and Hensler

* Lisa Feurzeig (Grand Rapids/MI): The Harem Transplanted? A Hopeful Picture of Bigamy in Franz Schubert’s Unfinished Opera Der Graf von Gleichen

* Caroline Herfert (Vienna): Between 'Romantic Reverie’ and Critical Account: The Different Harems of Murad Efendi (1836–1881)

Act V: From the Ottoman Point of View

* Orlin Sabev (Orhan Salih, Sofia): European 'Seraglios’ and 'Strange Arts’ as Seen by Ottoman Encounters from the Seventeenth to the Nineteenth Century

* Emre Aracı (London): “But if the Sultan Has a Taste for Song, We Will Revive our Fortunes Before Long”: Seeking Operatic Fortunes in the Nineteenth-Century Ottoman Harem

* Evren Kutlay (Istanbul): Musical Instruments in Ottoman Seraglios and Harems of the Eighteenth and Early Nineteenth Centuries

* Nazende Yılmaz (Istanbul): European Music Embraced in the Ottoman Seraglio

Appendix

* Index

* Curricula Vitae