Abstract
During the French Revolution (1789-1799), opéra-comique was taken in intriguing new directions by the political and social necessities of the day. These required composers of opéra-comique to not only satisfy aesthetic demands but also to produce morally instructive works according to the political principles of the Revolution.The aim of the present study is to elucidate these didactic revolutionary developments, and to situate them in a context of continuity (whilst acknowledging the important, localised ruptures which must be held in tension). During the eighteenth century, opéra-comique developed in a climate of intense intellectual ferment known as the Enlightenment in which opera was one of the most contentious subjects. As such, it could hardly avoid being affected and even shaped by a culture in which dispute and disagreement significantly influenced the ways opera was thought about, composed, and received. In particular, I argue that sensationism sometimes referred to by scholars as a ‘culture of sensibilité’ had a profound impact on the development of opéra-comique during this period which fundamentally shaped the ways in which it was applied to didactic ends during the French Revolution.
As such, I argue that revolutionary opéra-comique witnessed a remarkable intertwining of aesthetic function with pedagogical purpose; or, to be more specific, a politicisation of the sentimental and a sentimentalisation of the political, given that so often during the Revolution virtue was equated with both one’s contribution to the success of the revolutionary project and one’s sensibilité. However, I also contribute to a scholarly movement in this field which has sought to dispel the idea that revolutionary opera was primarily used as ‘propaganda’; an idea which gained traction several decades ago and unfortunately still lingers. Instead of discussing the subservience of opéra-comique to the state during the Revolution, I will highlight the significance of a perceived aesthetic function in which opéra-comique was regarded as an opportunity to encourage the citizens of France to participate in what was their own Revolution, rather than simply allowing themselves to be subjected to a centralised ideology monopolised by the state.
In presenting these arguments, the present project builds on a rich field of scholarship on opéra-comique during the eighteenth century and the Revolution; however, this is the first study to consider the revolutionary conception and didactic application of opéra-comique in relation to the sensationist aesthetics of the Enlightenment period. It thus provides a new lens through which to further critique the notion of the Revolution as aesthetic ‘rupture’, presenting new evidence for both continuity with the past and development of the revolutionaries’ cultural heritage.
| Date of Award | 1 May 2020 |
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| Original language | English |
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| Supervisor | Michael Fend (Supervisor) & Sanja Perovic (Supervisor) |