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Pygmalion’s power struggles: Rousseau, Rameau and Galathée
Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
2017 (English)In: Rousseau on stage: Playwright, musician, spectator / [ed] Maria Gullstam, Michael O’Dea, Oxford: Voltaire Foundation, 2017Chapter in book (Refereed)
Abstract [en]

Rousseau’s Pygmalion can be seen as the theoretical culmination and the practical result of his lifelong thinking around and experimentation with theatre and music. But why did Rousseau choose the Pygmalion myth to tie all these ideas together? This chapter examines in what ways Rousseau’s Pygmalion can be seen as a direct response to his arch-enemy Jean-Philippe Rameau’s opera-ballet Pigmalion, written in 1748. It discusses why Rousseau would chose to reply so directly to Rameau’s Pigmalion, and how Rousseau’s Pygmalion communicates with Rameau’s opera-ballet, drawing on the two thinkers’ theoretical discussions. 

Place, publisher, year, edition, pages
Oxford: Voltaire Foundation, 2017.
Series
Oxford University Studies in the Enlightenment, ISSN 0435-2866 ; 9
Keyword [en]
Jean-Jacques Rousseau, Rameau, Pygmalion, theatre, opera, aesthetics
National Category
Performing Art Studies
Research subject
Theatre Studies
Identifiers
URN: urn:nbn:se:su:diva-150417ISBN: 978-0-7294-1199-8 (print)OAI: oai:DiVA.org:su-150417DiVA, id: diva2:1167532
Available from: 2017-12-19 Created: 2017-12-19 Last updated: 2017-12-19Bibliographically approved

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