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Petra Dotlačilová’s publications

  • 2021 ‘Costume in the Age of Rousseau and the Case of Pygmalion’, and ‘Materiality in Action: Costume and Light on the Baroque Stage’, in Performing Eighteenth-Century Theatre Today: Discourses, Practices, Artefacts, edited by Meike Wagner and Magnus Tessing Schneider, Stockholm: Stockholm University Press (forthcoming)
  • 2021 'Visible and Invisible Hands: Costume-Making Practices of Italian Music Theatre in the Early Modern Era', in Performing Arts and Technical Issues, edited by Roberto Illiano. Turnhout: Brepols (forthcoming)
  • 2020 Costume in the Time of Reforms: Louis-René Boquet Designing Eighteenth-Century Ballet and Opera, PhD. diss. Stockholm: Stockholm University
  • 2019 'Louis-René Boquet’s Work for Opera and Ballet in the Second Half of the Eighteenth Century', in Dance Body Costume. Prospektiven 2, edited by Petra Dotlačilová & Hanna Walsdorf, Leipzig: Leipziger Universitätsverlag
  • 2019 'Material Matters: Dressing Jourdain and the Fake Turks', in Ritual Design for the Ballet Stage: Revisiting the Turkish Ceremony in Molière’s Bourgeois gentilhomme (1670), edited by Hanna Walsdorf, Berlin: Frank & Timme
  • 2017 'Picturing the Horror: Costume for Furies on the French Stage from 1650 to 1766', in Terpsichore and her Sisters: The Relationship between Dance and other Arts. Conference proceeding of Early Dance Circle. Cambridge: Victoire Press
  • 2014 'Varšavský rukopis, známý a neznámý', in Živá hudba #4, Prague: AMU ['Warsaw Manuscript, known and unknown']
  • 2013 Vývoj baletu-pantomimy v osvícenské Evropě. Prague: AMU [Development of Ballet Pantomime in Enlightenment Europe]. 2011 'Diffusion des ballets de Noverre en Bohême et en Moravie', in Musicorum, 10/2011, edited by Marie-Thérèse Mourey, Université François-Rabelais de Tours, 

Jens Hesselager’s publications

  • Hesselager, J. (2021). Musikhistorien og den omrejsende musik. I U. Kallenbach, & S. Kluge (red.), Det historiske blik (s. 101-110). Aarhus Universitetsforlag.
  • Hesselager, J. (2020). Hans Christian Andersen and J.P.E. Hartmann's opera Ravnen as a 'melodramatisation' of Carlo Gozzi's Il Corvo. I C. Philipsen, & U. Omonsky (red.), Das Melodram in Geschichte und Aufführungspraxis (s. 207-224). Wissner Verlag. Michaelsteiner Konferenzberichte Bind 87
  • Hesselager, J. (2018). Sympathy for the devil? Bertram (Robert le diable) in Copenhagen, 1833. I J. Hesselager (red.), Grand Opera Outside Paris: Opera on the Move in Nineteenth-Century Europe (s. 97-113). Routledge. Ashgate Interdisciplinary Studies in Opera
  • Hesselager, J. (2016). Recitative and Modernity in Copenhagen, c. 1720-1850. I M. Loeser (red.), "Verwandlung der Welt"?: Die Musikkultur des Ostseeraums in der Sattelzeit (s. 61-75). Frank & Timme. Greifswalde Beiträge zur Musikwissenschaft Bind 21
  • Hesselager, J. (2015). Provincialism within limits? Nationalism and cultural transfer in Danish mid-19th century musical culture. I D. Redepenning (red.), Musik im Spannungsfeld zwischen nationalem Denken und Weltbürgertum: Franz Liszt zum 200. Geburtstag (s. 205-222). Universitätsverlag Winter. Germanisch-Romanische Monatsschrift Bind 67
  • Hesselager, J. (2014). Musik til Skuespil: Two Methodological Challenges and a Few Observations Occasioned by an Early Nineteenth-Century Danish Manuscript of Incidental Music. I U. Kramer (red.), Theater mit Musik. 400 Jahre Schauspielmusik im europäischen Theater: Bedingungen, Strategien, Wahrnehmungen (s. xx-xx). Transcript Verlag. Mainzer Historische Kulturwissenschaften Bind 16
  • Hesselager, J. (2012). Rachel the Jewess in Copenhagen. I A. Sivuoja, O. Ander, U-B. Broman-Kananen, & J. Hesselager (red.), Opera on the Move in the Nordic Countries during the Long 19th Century (s. 221-249). Docmus Research Publications. Docmus Research Publications Bind 4
  • Hesselager, J. (2012). Sonorizing Melodramatic Stage Directions: 'Reflexive performance' as a way of approaching nineteenth-century French melodrama. Nordic Theatre Studies, 23=2011, 20-30.

Christine Jeanneret’s publications

  • 2021 “Performance et performativité”, in Anne-Madeleine Goulet, José María Domínguez, Élodie Oriol (eds), Spectacles et performances artistiques à Rome (1644–1740): Une analyse historique à partir des archives familiales de l’aristocratie. Rome: Publications de l’École française de Rome
  • 2021 “Un triomphe gastronomique: Performance et banquet dans le jardin de Flavio Chigi”, in Anne-Madeleine Goulet, José María Domínguez, Élodie Oriol (eds), Spectacles et performances artistiques à Rome (1644–1740): Une analyse historique à partir des archives familiales de l’aristocratie. Rome: Publications de l’École française de Rome
  • 2021 “Opera, Gender, and Voice”, in Jacqueline Waeber (ed.), The Cambridge Companion to Seventeenth-Century Opera. Cambridge: Cambridge University Press, 108-131
  • 2021 “Le théâtre français au Septentrion (1669-1722): Diplomatie, échanges culturels et migration”, Early Modern French Studies
  • 2020 “Costumes and Cosmopolitanism: Italian Opera in the North”, Cambridge Opera Journal, 32, no. 1, 27-51
  • 2020 Valeria De Lucca and Christine Jeanneret (eds), The Grand Theater of the World: Music, Space, and the Performance of Identity in Early Modern Rome. London, New York: Routledge (publication date: 23.09.2019), “Introduction” and “Exploring the Soundscape of Early Modern Rome through Uberti’s Contrasto musico”, 1-30
  • 2013 “Maria Cavalli: In the Shadow of Francesco”, in Ellen Rosand (ed.), Readying Cavalli’s Operas for the Stage: Manuscript, Edition, Production. Farnham: Ashgate, 95-117
  • 2009 L’Œuvre en filigrane: Une étude philologique des manuscrits de musique pour clavier à Rome au XVIIe siècle. Florence: Olschki (Historiae musicae cultores; 116)

Annelis Kuhlmann’s publications

  • Kuhlmann, A 2021, The First Danish Production of Hamlet (1813). i N Keinänen & P Sivefors (red), Disseminating Shakespeare in the Nordic Countries: Shifting Centres and Peripheries in the Nineteenth Century. Bloomsbury Academic, London.
  • Kuhlmann, A, Ledger, AJ 2021, Eugenio Barba: L'albero della conoscenza dello spettacolo. oversat af Mancini Leonardo, Cuepress, Bologna.
  • Kuhlmann, A & Одесская, М (red.) 2021, Жест любви в драматургической апроприации: Шекспир - Тургенев - Чехов. i Тургенев - на перекрестах эпох и культур. Rossiiskii gosudarstvennyi gumanitarnyi universitet, Moscow, s. 271-289.
  • Kuhlmann, A 2019, 'Historical Performance Practice som teaterbevidsthed', Peripeti - tidsskrift for dramaturgiske studier, bind 2019, nr. Særnummer, s. 179-189.
  • Kuhlmann, A 2019, The melody that got lost: a unique example of avant-garde theatre in Denmark. i A cultural history of the avant-garde in the nordic countries 1925-1950. Brill, Leiden, Avant Garde Critical Studies, bind 36, s. 671-683. doi.org/10.1163/9789004388291_039
  • Kuhlmann, A & Ledger, AJ 2018, The Tree of Performance Knowledge: Eugenio Barba. i S Shepherd & P Allain (red), The Great European Stage Directors: Grotowski. Brook. Barba. Methuen, London, Great Directors, s. 145-202, 221-232, 236-237.
  • Kuhlmann, A 2018, In Search of the Immaterial Cultural Heritage in the Theatre Archives. i T Nixon (red.), FREEZE! Challenge the Hierarchy: Researcher, Artist, User! 31e Congress, 31 May - 3 June 2016: International Association of Librairies, Museums, Archives and Documentation Centres of the Performing Arts (SIBMAS). Société Internationale des Bibliothèques et Musées des Arts du Spectacle (SIBMAS), Bruxelles, s. 21-31.
  • Kuhlmann, A 2016, "Гедда Габлер" и ее двойник. Современные постановки в театрах Дании. i MM Odesskaya & SV Tihomirov (red), Ibsen, Gamsun, Chehov: togda i seychas. RGGU. Izdatelskiy tsentr, Moskva, s. 177-195.
  • Kuhlmann, A 2015, At performe nationalarkivet. i EE Christoffersen & K Winkelhorn (red), Skønhedens hotel: Hotel Pro Forma - Et laboratorium for scenekunst. Aarhus Universitetsforlag, Aarhus, s. 261-276.
  • Kuhlmann, A 2015, 罗贝塔 。卡芮:"雪迹"一部以表演形式吴县的艺术自传: 体现了亚洲戏剧对世界现存最古老的剧院丹麦奥丁剧院演员培训的影响. i L Libin & H Ippei (red), 亚洲戏剧与戏剧教育: Asian Theatre and Theatre Education. China Theatre Press, Beijing, s. 309-332.
  • Kuhlmann, A 2014, 'In the Shade we stumble: Theatre laboratory as a living archive', Mimesis Journal. Rivista semestrale di studi sulla vita e le forme del teatro, bind 2013, nr. 2. <http://www.mimesis.unito.it/mj_2_2.html>
  • Kuhlmann, A 2006, Teatralitet i dansk dramatik fra renæssancen. Scener fra Hamlets samtidige teater i Danmark. i O Høiris & J Vellev (red), Renæssancens Verden. Aarhus Universitetsforlag, Århus, s. 233-247.
  • Kuhlmann, A 1999, 'Stanislavsky's Artistic Autobiography as Theatre Historiography', Nordic Theatre Studies, bind 12, s. 74-80.

Magnus Tessing Schneider’s publications

  • Felicity Baker: Don Giovanni’s Reasons: Thoughts on a masterpiece, edited and with an introduction by Magnus Tessing Schneider (Peter Lang: Berlin 2021).
  •  “Francesco Benucci as Actor,” in Newsletter of the Mozart Society of America, vol. 25, no. 1 (spring 2021), 6-11: https://www.mozartsocietyofamerica.org/wp-content/uploads/newsletters/MSA-Newsletter-2021-1.pdf.
  • “A Song of Other Times: The Transformation of Ossian in Calzabigi’s and Morandi’s Comala (1774/1780)”, in LIR.journal vol. 11 (2019), 24-47: https://ojs.ub.gu.se/ojs/index.php/LIRJ/article/view/4667.
  • (With Ruth Tatlow) Mozart’s La clemenza di Tito: A Reappraisal (Stockholm University Press: Stockholm, 2018), including the chapters “La clemenza di Tito: Chronology and Documents” (with Ruth Tatlow), 1-32, and “From Metastasio to Mazzolà: Clemency and Pity in La clemenza di Tito,” 56-96: https://www.stockholmuniversitypress.se/site/books/10.16993/ban/read/?loc=001.xhtml.
  • “Busenello’s Secret History: An Allegorical Reading of L’incoronazione di Poppea,” in Renæssanceforum: Journal of Renaissance Studies vol. 13, special issue: Staging History: Renaissance Dramatic Historiography (2018), 141-68: http://www.renaessanceforum.dk/13_2018/07_schneider_busenello.pdf.
  • “Kierkegaard and the Copenhagen Production of Mozart’s Don Giovanni,” in European Romantic Review vol. 29, no. 1 (2018), 43-50.
  • Richard den Anden og Hamlets spejl” [Richard II and Hamlet’s Mirror], in Peripeti vol. 26 (2017), 29-40: http://www.peripeti.dk/pdf/peripeti_26_2017.pdf.
  • “The Judgement of Rousseau: Paride ed Elena by Gluck and Calzabigi (Vienna, 1770),” in Rousseau on Stage: Playwright, Musician, Spectator, ed. Maria Gullstam and Michael O’Dea (Voltaire Foundation: Oxford, 2017), 255-84.
  • “Legacy of an Anti-Patriot: Calzabigi’s Elvira in Naples, 1794,” in Stage / Page / Play: Interdisciplinary Approaches to Theatre and Theatricality, ed. Anna Lawaetz and Ulla Kallenbach (Multivers: Copenhagen, 2016), 37-54.
  • “Laughing with Casanova: Luigi Bassi and the Original Production of Don Giovanni,” in Mozart in Prague: Essays on Performance, Patronage, Sources and Reception, ed. Kathryn L. Libin (Czech Academy of Sciences: Prague, 2016), 403-19.
  • “Historisk bevidst dramaturgi” [Historically Informed Dramaturgy], in Hvad med teaterhistorien? ed. Erik Hvidt and Per Lykke (Multivers: Copenhagen, 2016), 259-77.
  • “Dene Barnett’s Eighteenth Century, Or, What Is Historically Informed Performance,” in Performing Premodernity Online vol. 2 (2015): http://su.diva-portal.org/smash/get/diva2:1350009/FULLTEXT01.pdf.
  • “Allegory and intertextuality in La Statira, principessa di Persia,” in A metà secolo: L’apogeo di Francesco Cavalli (1650-1656): Venezia, Teatro La Fenice, 12 luglio 2014: Atti della giornata di studio (Venetian Centre for Baroque Music: Venice, 2014), 44-53: http://www.vcbm.it/public/research_attachments/A_META_SECOLOLAPOGEO_DI_FRANCESCO_CAVALLI_1650-1656_1.pdf.
  • “The Poet and the Nun: Role Doubling and Petrarchan Allegory in Gli amori d’Apollo e di Dafne,” in Performing Premodernity Online vol. 1 (2014), 1-18: https://performingpremodernity.com/wp-content/uploads/2015/01/PPO1-Schneider.pdf.