Anaëlle Gobinet-Choukroun will defend his doctoral thesis in Art History which will take place on Saturday November 30, 2024 at 2pm at the University of Strasbourg (Institut Le Bel, room Guy Ourisson, 4 rue Blaise Pascal)
Entitled “The Stage Jewel and the Orient: 1870-1914”, this thesis was prepared at the University of Strasbourg (ARCHE, University of Strasbourg) under the supervision of Madame Christine Peltre, Professor Emeritus at the University of Strasbourg.
The protection is public. A video conference link to follow the defense remotely can be provided upon request.
a jury
Mr. Nicolas BOURGUINAT, Professor, University of Strasbourg
Mr. Jérémie CERMAN, Professor, University of Artois
Mr Guy DUCREY Professor, University of Strasbourg
Ms Rossella FROISSART, Director of Education, École Pratique des Hautes Études
Christine PELTRE, Professor Emeritus, University of Strasbourg
Mr Jean-Claude YON, Director of Education, École Pratique des Hautes Études
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Summary
Stage jewelry was, until recently, the largely forgotten part of stage wear. Its detailed study has not yet been the subject of a focused work, perhaps because of its “fake” quality and its status as an expendable accessory, the working materials of costume designers broken down to Eternal and reusable. Nevertheless, the stability of some heritage assets, such as those of the Comédie-Française and the Opéra Garnier, has made it possible to carry out a technical and stylistic analysis of these ancient objects, starting from the object itself, frozen in the 19th century. or a situation in the 20th century. The study we propose focuses on the use and economy of stage jewelery under the Third Republic, from the workshop to the stage: from the model designed by the costume designer to its manufacture by the jeweller, the decoration with different suppliers and then its changes, its hawks…
To understand the full depth of the stage jewel style, we wanted to approach it through the prism of stage Orientalism. Indeed, styles inspired by the ancient Orient or modernism were popular between 1870 and 1914, and many exhibitions attempted to reproduce these contexts. The great treasure hunt led by the great European colonial powers in the Mediterranean basin and the Middle East, finding archaeological remains to establish their scientific validity, opening doors to the Other. Stage craftsmen try to recreate these foreign costumes on European stages with more or less fidelity, sometimes under a political prism. Questions of a more elegant order close our reflection on the authenticity of stage jewelry and the amount of imitation of the precious; but also on its political significance as a vector of discourse and perception of the East or Semitic Other. In short, the jewel of the Orientalist scene from the beginning of the 19th and 20th century only marks an attractive time for the extraordinary, curiosity for the Other and the passion for History. It is an essential cog in the clothing machine, serving to seduce and change scenes, which we recommend to find throughout these pages.
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Anaëlle Gobinet-Choukroun
Doctoral student in Art History
University of Strasbourg, ARCHE
LinkedIn: https://lc.cx/AjiTdt
Instagram: @anaelle.gobinet.choukroun / @anaelle_gbck
2024-11-29 19:18:00
#Jewel #Palace #Orient #Defense #Anaëlle #GobinetChoukroun #Strasbourg
## Staging the Orient: A Conversation with Art Historian Anaëlle Gobinet-Choukroun
**World Today News:** Anaëlle Gobinet-Choukroun, congratulations on defending your doctoral thesis, “The Stage Jewel and the Orient: 1870-1914,” on November 30th at the University of Strasbourg. Your work explores a captivating intersection of art, history, and cultural portrayal. Could you tell our readers a little about the core focus of your research?
**Anaëlle Gobinet-Choukroun:** Thank you! My thesis delves into the captivating world of stage jewelry used in theatrical productions depicting orientalist themes between 1870 and 1914. This period witnessed a surge in popularity for exotic spectacles set in the “Orient,” a term encompassing a vast and diverse region.
My research examines how these stage jewels, frequently enough extravagantly designed and imbued with symbolic meaning, contributed to the construction and perception of the “Orient” on stage. I analyze how these objects functioned as visual cues, shaping audience understanding of characters, settings, and even broader cultural narratives.
**World Today News:** This sounds like a truly unique area of study. What drew you to this particular topic?
**Gobinet-Choukroun:** I’ve always been fascinated by the complex and frequently enough problematic relationship between Europe and the “Orient.” Theatrical productions played a critically important role in shaping these perceptions, and I was particularly intrigued by the role of material culture, specifically jewelry, in this process.
Stage jewels, frequently enough crafted with meticulous detail and vibrant gemstones, served as powerful tools for conveying a sense of exoticism and otherness. My research aimed to uncover the stories behind these objects, exploring their historical context, design motifs, and the meanings they conveyed to audiences of the time.
**World Today News:** How did your research process unfold? What were some of the challenges and rewards you encountered along the way?
**Gobinet-Choukroun:** My research involved extensive archival work, poring over theater records, costume designs, and photographs. I also had the possibility to examine and analyze actual stage jewels from the period at various museums and private collections.
One of the greatest challenges was navigating the complex and often contradictory representations of the “Orient” in theatrical productions. While some depictions celebrated exotic beauty and culture, others perpetuated harmful stereotypes and fueled colonialist ideologies.
**World Today News:** What are some of the key findings of your thesis?
**Gobinet-Choukroun:** My research revealed a fascinating interplay between artifice and authenticity in the construction of the “oriental” persona on stage. Stage jewels, often created with a painstaking attention to detail, were used to
create an illusion of authenticity, contributing to the romanticized and exoticized image of the “Orient” prevalent at the time.
I also found that these jewels frequently enough served as vehicles for broader social and political commentaries,reflecting anxieties about national identity,gender roles,and colonialism.
**World Today News:** What are your hopes for the future of your research?
**Gobinet-Choukroun:** I hope my research will contribute to a greater understanding of the complex and multifaceted relationship between art, fashion, and colonialism.
I would love to see my findings further explored through exhibitions, publications, and interdisciplinary collaborations. Ultimately,my goal is to shed light on the often overlooked role of material culture in shaping our perceptions of the world around us.
**World Today news:** Thank you for sharing your insights with us, Anaëlle. We wish you the very best in your future endeavors.
**For those interested in learning more about Anaëlle Gobinet-Choukroun’s research, her doctoral dissertation defense will be held publically on November 30th, 2024, at 2 PM at the University of Strasbourg (Institut Le Bel, room Guy Ourisson, 4 rue Blaise Pascal). A video conference link for remote attendance is available upon request.**
