{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/110801"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/110801","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"The theatrical collaborators of Richard Strauss: Networks, materials, and cultural politics","abstract":"Richard Strauss remains one of the most recognized and performed opera composers of the twentieth century. Considerations of staging practices have been part of Strauss historiography since the early twentieth century, yet explorations of the composer as a theatrical practitioner and collaborator have been marginalized endeavors. A more in-depth investigation beckons since the varied and challenging demands of Strauss’s stage works meant that a range of expert and trustworthy collaborators were essential for their performance. Using fresh documentary sources, this dissertation problematizes the often-monolithic figure of “the composer” as the principal creative index for musical stage work. The history of Strauss’s theatrical collaborations points instead towards an evolving and increasingly pluralistic approach to music theater as generated by multiple creative actors. Chapter one explores the earliest phase of Strauss’s career, when he gained his first experience as a theatrical practitioner in Meiningen, Munich, Bayreuth, and Weimar. The case studies following focus on three categories of theatrical collaborators: intendants, stage directors, and stage designers. Chapter two examines Strauss’s turbulent relationship with Count Nicolaus von Seebach, the leader of the Court Theater in Dresden, where the composer’s early operatic successes premiered. Chapter three considers stage director Lothar Wallerstein, a strong but overlooked advocate for Strauss’s stage works in Austria. For chapter four, the influence of model productions serves as a springboard to examine two consequential Strauss stage designers: Alfred Roller and Ludwig Sievert. The legacy of these collaborations still resonates today, as interpreters and audiences alike continue to find new riches in the stage works of Richard Strauss.","abstract_html":"Richard Strauss remains one of the most recognized and performed opera composers of the twentieth century. Considerations of staging practices have been part of Strauss historiography since the early twentieth century, yet explorations of the composer as a theatrical practitioner and collaborator have been marginalized endeavors. A more in-depth investigation beckons since the varied and challenging demands of Strauss’s stage works meant that a range of expert and trustworthy collaborators were essential for their performance. Using fresh documentary sources, this dissertation problematizes the often-monolithic figure of “the composer” as the principal creative index for musical stage work. The history of Strauss’s theatrical collaborations points instead towards an evolving and increasingly pluralistic approach to music theater as generated by multiple creative actors. Chapter one explores the earliest phase of Strauss’s career, when he gained his first experience as a theatrical practitioner in Meiningen, Munich, Bayreuth, and Weimar. The case studies following focus on three categories of theatrical collaborators: intendants, stage directors, and stage designers. Chapter two examines Strauss’s turbulent relationship with Count Nicolaus von Seebach, the leader of the Court Theater in Dresden, where the composer’s early operatic successes premiered. Chapter three considers stage director Lothar Wallerstein, a strong but overlooked advocate for Strauss’s stage works in Austria. For chapter four, the influence of model productions serves as a springboard to examine two consequential Strauss stage designers: Alfred Roller and Ludwig Sievert. The legacy of these collaborations still resonates today, as interpreters and audiences alike continue to find new riches in the stage works of Richard Strauss.","abstract_has_math":false,"creators":["Prendergast, Ryan Michael"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"Theatre","degree_department":null,"school":null,"contributors":["Syer, Katherine","Robinson, Valleri","Gilliam, Bryan","Kinderman, William","Liebersohn, Harry"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2021,"date_issued":"2021-09-17T04:04:11Z","date_published":"2021-09-17T04:04:11Z","updated_at":"2026-07-22T22:24:52Z","subjects":["Richard Strauss","Opera","Theatre"],"languages":["en"],"rights":["Copyright 2021 Ryan Michael Prendergast"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/2142/110801","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Syer, Katherine","Robinson, Valleri","Gilliam, Bryan","Kinderman, William","Liebersohn, Harry"]},{"key":"dc:creator","label":"Author","values":["Prendergast, Ryan Michael"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2021-09-17T04:04:11Z","2023-09-17T04:07:01Z","2021-04-15","2021-05"]},{"key":"dc:type","label":"Dc Type","values":["text","Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Theatre"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Richard Strauss","Opera","Theatre"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2021 Ryan Michael Prendergast"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/110801"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Richard Strauss remains one of the most recognized and performed opera composers of the twentieth century. Considerations of staging practices have been part of Strauss historiography since the early twentieth century, yet explorations of the composer as a theatrical practitioner and collaborator have been marginalized endeavors. A more in-depth investigation beckons since the varied and challenging demands of Strauss’s stage works meant that a range of expert and trustworthy collaborators were essential for their performance. Using fresh documentary sources, this dissertation problematizes the often-monolithic figure of “the composer” as the principal creative index for musical stage work. The history of Strauss’s theatrical collaborations points instead towards an evolving and increasingly pluralistic approach to music theater as generated by multiple creative actors. Chapter one explores the earliest phase of Strauss’s career, when he gained his first experience as a theatrical practitioner in Meiningen, Munich, Bayreuth, and Weimar. The case studies following focus on three categories of theatrical collaborators: intendants, stage directors, and stage designers. Chapter two examines Strauss’s turbulent relationship with Count Nicolaus von Seebach, the leader of the Court Theater in Dresden, where the composer’s early operatic successes premiered. Chapter three considers stage director Lothar Wallerstein, a strong but overlooked advocate for Strauss’s stage works in Austria. For chapter four, the influence of model productions serves as a springboard to examine two consequential Strauss stage designers: Alfred Roller and Ludwig Sievert. The legacy of these collaborations still resonates today, as interpreters and audiences alike continue to find new riches in the stage works of Richard Strauss.","Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2023-05-01","The student, Ryan Prendergast, accepted the attached license on 2021-04-10 at 20:00.","The student, Ryan Prendergast, submitted this Dissertation for approval on 2021-04-10 at 20:19.","This Dissertation was approved for publication on 2021-04-15 at 16:06.","DSpace SAF Submission Ingestion Package generated from Vireo submission #16276 on 2021-09-16 at 20:08:24","Made available in DSpace on 2021-09-17T04:04:11Z (GMT). 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Considerations of staging practices have been part of Strauss historiography since the early twentieth century, yet explorations of the composer as a theatrical practitioner and collaborator have been marginalized endeavors. A more in-depth investigation beckons since the varied and challenging demands of Strauss’s stage works meant that a range of expert and trustworthy collaborators were essential for their performance. Using fresh documentary sources, this dissertation problematizes the often-monolithic figure of “the composer” as the principal creative index for musical stage work. The history of Strauss’s theatrical collaborations points instead towards an evolving and increasingly pluralistic approach to music theater as generated by multiple creative actors. Chapter one explores the earliest phase of Strauss’s career, when he gained his first experience as a theatrical practitioner in Meiningen, Munich, Bayreuth, and Weimar. The case studies following focus on three categories of theatrical collaborators: intendants, stage directors, and stage designers. Chapter two examines Strauss’s turbulent relationship with Count Nicolaus von Seebach, the leader of the Court Theater in Dresden, where the composer’s early operatic successes premiered. Chapter three considers stage director Lothar Wallerstein, a strong but overlooked advocate for Strauss’s stage works in Austria. For chapter four, the influence of model productions serves as a springboard to examine two consequential Strauss stage designers: Alfred Roller and Ludwig Sievert. The legacy of these collaborations still resonates today, as interpreters and audiences alike continue to find new riches in the stage works of Richard Strauss.","Submission published under a 24 month embargo labeled 'Closed Access', the embargo will last until 2023-05-01","The student, Ryan Prendergast, accepted the attached license on 2021-04-10 at 20:00.","The student, Ryan Prendergast, submitted this Dissertation for approval on 2021-04-10 at 20:19.","This Dissertation was approved for publication on 2021-04-15 at 16:06.","DSpace SAF Submission Ingestion Package generated from Vireo submission #16276 on 2021-09-16 at 20:08:24","Made available in DSpace on 2021-09-17T04:04:11Z (GMT). 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