D’une part, il montre que l’opéra était utilisé comme un outil de l’empire, une façon de plébisciter l’idéologie impériale portugaise tout en contribuant à renforcer les identités des colonisateurs vis-à-vis des colonisés. From this angle, the textures, layers and meanings of these experiences, and the globalization of opera, are more complex than a straightforward association between culture and politics, going far beyond strict imperial politics.Ĭet article analyse les relations entre opéra et empire au cours de la vice-royauté du marquis de Távora à Goa, entre 1750 et 1754. On the other hand, I contend that the performance of the opera in Goa was also an extension of the typical world of entertainment of the eighteenth-century Portuguese aristocracy, where the openness to the Enlightenment concepts of leisure was increasing. In that sense, the performance of the opera was part of a Portuguese “orientalist process of domination”, and the narratives of the operas played in Goa- The Tragedy of Porus and Adolonymous of Sídon, both evoking the stories of Alexander the Great-were part of the global Orientalism Edward Said so eloquently wrote about. On the one hand, it argues that opera was performed as a tool of empire, displaying the Portuguese imperial ideology, and contributing to reinforce the identities of the colonizers visa-vis the colonized. This essay analyses the ways in which opera and empire were related during the viceroyalty of the Marquis of Távora in Goa, between 1750 and 1754.
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