Conference program

Plays, Places and Participants
- Light Opera, Dance and Theatre around 1800

The program is here!


Conference Map

Show Conference Map 2013 as a bigger map


Announcement of keynote speaker

For our upcoming conference in November, we are proud to present as one of our keynote speakers Dr. Sarah McCleave of Queen's University, Belfast. McCleave will speak about 18th Century theatrical dance. She has published extensively on Mari Sallé. Her most current book, "Dance in Handel's London Operas", was published by the Univeristy of Rochester Press in 2013.


Second keynote speaker confirmed

We are proud to present our second keynote speaker: David Charlton, Professor Emeritus of Music History, at Royal Holloway, University of London. Charlton has published widely on the history of opera, and especially on opéra-comique. His publications include Opera in the Age of Rousseau: Music, Confrontation, Realism  (2012), French opera, 1730-1830: meaning and media (2000), and Grétry and the growth of opéra-comique (1986).

Announcement of third keynote speaker

We are happy to announce as our third keynote speaker Susan Maslan, of the French Department at University of California, Berkeley. Professor Maslan works on early modern French literary and political history. Her book Revolutionary Acts: Theater, Democracy, and the French Revolution (Johns Hopkins University Press, 2005), is of special interest to our project.

Plays, Places and Participants

Plays, Places and Participants – light opera, dance and theatre around 1800
Trondheim, 4th – 6th November 2013'


Around the turn of the 19th century, dance, music and theatre as performing arts were going through major changes with regards to repertoire, venues and agents. Genres shifted from baroque patterns and classicistic ideals to romantic and new popular forms; performance sites moved from the town hall, via private parlours and stately homes, to public assembly rooms and purpose-built theatres; practitioners ranged from self-fashioning dilettantes united by social acquaintance or organized societies, to professional performers and managers. As artistic forms and venues changed, so did the performing arts' aesthetic and social functions.
This conference aims to focus on the repertoires, venues and agents that were part of the development of the performing arts in the decades between 1770 and 1850. An important aspect of the conference will be how the genres and styles within the various art forms underwent a transition from baroque to romantic ideals: from aristocratic, representative forms towards an art that reflected enlightenment ideals and a new self-understanding among the bourgeois participants.
Performing arts are actual events in time and space – and therefore inextricably linked to the physical venues and locales where performances took place. These were the places where people assembled to dance, act, play and sing; to present and represent; to practice and participate in the making of art and the making of society. The conference theme Plays, Places and Participants, is therefore an invitation to contributors to address:
• Genres and styles; scripts, scores and notations
• Performance spaces and technologies
• Artistic and social conventions and practices, where questions of gender constitute a significant research perspective

Full Call for Papers as Pdf

The venue

The conference will be held at
Erling Skakkes gt 47
7012 Trondheim

Updated weather forecast for Trondheim.

The conference

Plays, Places and Participants is the second in a series of three conferences arranged by pArts in the period 2012-2015. For more information regarding this conference, as well as on the keynote speakers, please check this site where any changes will be announced.

Regarding Charlton's keynote

For those interested in reading up on the cultural and sociological background of a story called Annette et Lubin, which forms the subject matter of an opera that our keynote speaker David Charlton will include in his talk Tuesday morning, Charlton's article on this topic is now available here.
The article explains why the opera was performed exclusively on private stages or in private conditions, and that circumstance is of course of interest when we consider the music composed for it – an opéra-comique written for amateur performance.