
Faculty of Modern andÌęMedieval Languages and Linguistics Raised Faculty Building ĂÜÌÒÊÓÆ” Sidgwick Avenue ĂÜÌÒÊÓÆ” CB3 9DA United Kingdom
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Mark Darlow specialises in eighteenth-century French theatre and music (especially opĂ©ra-comique), Rousseau, Bernardin de Saint-Pierre and the culture of the Revolutionary period. He is currently researching the posterity of French âclassicalâ theatre in the Enlightenment, with particular interest in material culture and book history. His work to date has sought to bring into dialogue approaches to eighteenth-century French theatre and musicology, most often from a cultural historical perspective (a methodology he has taught as part of the core course in theory for the Facultyâs MPhil course in Literature, Culture and Thought).
He has served on the editorial boards of Nottingham French Studies (2000-2006), and Oxford University Studies in the Enlightement (2018), and was also French reviews editor for Journal of Eighteenth-Century Studies (2004-7). He currently serves on the editorial boards of Coulisses (since 2010), Modern Languages Open (since 2014), Early-Modern French Studies (since 2016), and European Drama and Performance Studies (since 2018).
His interdisciplinary research has been supported by grants from the AHRC, the British Academy, the Owen Taylor research fund; and he was winner of a Philip Leverhulme Prize in 2005, the first time the prize had ever been awarded to a modern linguist.
He has served as associate researcher of the Centre de la musique baroque, Versailles, and has acted as overseas correspondent of the French government-funded Registres de la ComĂ©die-Italienne project spearheaded by Professor Françoise Rubellin. He has acted as advisory board member for Professor Katherine Astburyâs AHRC-funded Napoleonic Theatre Project (University of Warwick), as REF consultant for Swansea University, and as member of the AHRC peer review college. He has in the past acted as expert reviewer for the EHRC, the French Atelier National de la Recherche, and the European Research Council in Belgium. Among outlook and media activity, he has written for the Royal Opera House, Covent Garden, for OpĂ©ra en Wallonie and for Linn records.
He is currently involved in international research collaboration with Prof. Rebecca Geoffroy-Schwinden (University of North Texas), and is himself currently completing a monograph concerning the reception of French classical theatre in the period of the Enlightenment. The translation into Chinese of his monograph Staging the French Revolution is also forthcoming in 2020. Other ongoing projects concern sources for the actors of the Comédie-Italienne in the Minutier central des notaires (Archives Nationales), the actress-entrepreneur Mlle Montansier, and eighteenth-century theatre women, on which he is also supervising a PhD thesis.
He is currently course contact for Fr10: Enlightenment and its limits, and welcomes enquiries from potential graduate students, in the areas listed above.
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Books and edited volumes
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1. Michel-Jean Sedaine, Théùtre de la révolution (MHRA critical texts, 2017), viii-181p.
2. Shadows in the Enlightenment: the concept of Chiaroscuro in early-modern France, co-edited with Marion Lafouge, special number of Journal of Eighteenth-Century Studies, Dec. 2014, p.427-608.
3. Dissonance in the Republic of Letters: the Quarrel of the Gluckists and the Piccinnists (Oxford: Legenda, 2013), 229pp.
4. Staging the French Revolution: Cultural Politics and the Opéra de Paris, 1789-1794 (New York: OUP, 2012) [in series The New Cultural History of Music], 432pp. This book was runner-up for the Gapper prize of the Society for French Studies in 2012.
5. Laya, LâAmi des lois, co-ed. with Yann Robert (MHRA, 2011) [in series PhĆnix: Critical texts], 374pp.
6. The Discursive Culture: Reaction and Interaction, Text and Context, ed. M. Darlow and C. Warman, SVEC, 2007:06, p.1-157. Part-volume of nine chapters, including co-authored introduction and one single-authored chapter
7. Revolutionary Culture: Continuity and Change, special number of Nottingham French Studies, 45.1 (Spring 2006), 116pp. Including single-authored chapter and introduction
8. Nicolas-Etienne Framery and lyric theatre in eighteenth-century France (Oxford: Voltaire Foundation, 2003) [in series: SVEC, 2003:11], xii-400pp.
9. Maßtres et valets dans la comédie française du 18e siÚcle (Paris: Bréal, 1999), 128pp.
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Journal articles and book chapters
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1. âL'OpĂ©ra pendant la pĂ©riode rĂ©volutionnaire', edited selection of texts in La RĂ©glementation de l'OpĂ©ra de Paris 1669-2019: Ădition des principaux textes normatifs, ed. Vincent Giroud and Solveig Serre (Paris: Presses de lâEcole des Chartes, 2019), p.89-167.
2. âTerror without pity: Tragedy and the French Revolutionâ, in Theatrale Revolten, ed. Agnes Hoffmann and Annette Kappeler (Leiden: Wilhelm Fink, 2018), 25-44.
3. âA âStolenâ Theatre on Rue de la Loi: The OpĂ©ra after Thermidorâ, in Law and Opera, ed. Filippo Annunziata and Giorgio Fabio Colombo (Springer, 2018), p.283-95.
4. âLa place des Ćuvres de MoliĂšre dans le rĂ©pertoire du XVIIIe siĂšcleâ, LittĂ©ratures classiques, 95 (2018), 151-65.
5. ââCris nouveauxâ: the soundscape of Paris in Mercierâs Tableau de Paris and Nouveau Parisâ, Early-Modern French Studies, 41.1 (2019), 88-103.
6. 'Nihil per saltum: eighteenth-century views of chiaroscuro in spoken and lyric theatre' in Sarah Hibberd and Richard Wrigley (eds.), Art, Theatre, and Opera in Paris, 1750â1850: Exchanges and Tensions (Aldershot: Ashgate, 2014), p.37-51.
7. 'Discours et dynamiques progressistes : lâAcadĂ©mie Royale de Musique pendant la Querelle des Bouffons', in Revue d'histoire du théùtre, 261 (janvier-mars 2014), 55-65.
8. '"Malgre tous les Gluck du monde": Voltaire et la réforme de l'opéra', Revue Voltaire, 13 (2013), 79-94.
9. âLe ballet sous la Revolutionâ, in Mathias Auclair and Christophe Ghristi (eds.), Le Ballet de l'Opera: Trois siecles de suprĂ©matie depuis Louis XIV (Paris: Aubin Michel, 2013), p.66-69.
10. 'L'effritement du privilÚge théùtral: les débats de 1789-1790', in Solveig Serre, Denis Herlin and Sabine Chaouche (eds.), L'Opéra de Paris, la Comédie-Française et l'Opéra-Comique (1669-2010): approches comparées (Paris: Presses de l'école des chartes, 2012), 12pp.
11. 'Eighteenth-century French musical theatre: Etat présent', French Studies, 66 (2012), 68-77.
12. 'The repertory of the Paris Opéra, 1789-1799' in Solveig Serre and Michel Noiray (eds.), Le Répertoire de l'Opéra de Paris (1671-2009): Analyse et interprétation (Paris: Presses de l'école des chartes, 2011), p.117-40.
13. Diderot's voice(s) in New Essays on Diderot, ed. James Fowler (ĂÜÌÒÊÓÆ”: CUP, 2011), pp.203-19.
14. [13a. The above translated into German: âDiderots Stimme(n): Musik und Reform. Von der âQuerelle des Bouffonsâ bis zu Neveu de Rameauâ, in AufklĂ€rung und Kritik, 4 (2013), 227-38 [special number: âDenis Diderot zum 300. Geburtstagâ].
15. âHistory and (meta-)theatricality: The French Revolutionâs paranoid aestheticsâ, in Modern Language Review, 105 (2010), 385-400.
16. âRepertory reforms at the Paris OpĂ©ra on the eve of the Revolutionâ in La Vie Théùtrale en France au XVIIIe siĂšcle, ed. John Golder (special number of Journal of Eighteenth-Century Studies), 32 (2009), 563-76.
17. âLes ballets dans Tarare, version de 1819â, in Musique et geste: de Lully Ă la RĂ©volution: Etudes sur la musique, le théùtre et la danse, ed. Jacqueline Waeber (Bern: Peter Lang, 2009), pp.249-61.
18. âLe rĂ©pertoire de lâAcademie Royale de Musique pendante la Constituanteâ, in Le Théùtre sous la RĂ©volution: Politique du rĂ©pertoire (1789-1799), ed. Martial Poirson (Paris: DesjonquĂšres, 2008), pp.90-102.
19. âLe vaudeville Ă la ComĂ©die-Italienne, 1767-1789â in Carlo Goldoni et la France: Un Dialogue dramatique de la modernitĂ© (Revue des Etudes italiennes, 53 [2007]), ed. A. Fabiano, 87-95.
20. âThe role of the listener in the musical aesthetics of the Revolutionâ, in The Discursive Culture: Reaction and Interaction, Text and Context, ed. Darlow and Warman, SVEC 2007:06, 143-57.
21. âVaudeville et distanciation dans lâopĂ©ra-comique des annĂ©es 1750â, in La Querelle des Bouffons dans la vie culturelle française du XVIIIe siĂšcle, ed. A. Fabiano (Paris: Editions du CNRS, 2005), pp.43-55.
22. âReprĂ©sentations de la simplicitĂ© masculine dans lâopĂ©ra-comique françaisâ, in MasculinitĂ©s en France, 1700-1830, ed. K. Astbury and M.-E. Plagnol-DiĂ©val (Bern: Peter Lang, 2004), pp.79-92.
23. âLa parodie dans lâopĂ©ra et la notion de sĂ©rie musicaleâ, in SĂ©ries parodiques, edited by D. QuĂ©ro (Paris: Presses Universitaires de la Sorbonne, 2004), pp.179-92.
24. ââApprendre aux hommes Ă mourirâ: the theatrical adaptations of Paul et Virginieâ, in Morality and Justice: The Challenge of European Theatre, special number of European Studies, 17 (2001), 129-42.
25. âBeaumarchais, Framery and the SociĂ©tĂ© des Auteurs Dramatiquesâ, in P. Robinson (ed.), Beaumarchais: Homme de lettres, homme de sociĂ©tĂ© (Bern-New York: Peter Lang, 2000), pp.39-55.
26. âTheorising the âdramatic novellaâ: the case of AzĂ©miaâ, in Enlightenment and Narrative: Essays in Honour of Richard Francis, ed. Philip Robinson, Nottingham French Studies, 48.3 (Autumn 2009), 125-36.
27. âStaging the Revolution: The Fait historiqueâ, in Revolutionary Culture: Continuity and Change, ed. Darlow, Nottingham French Studies, 45.1 (Spring 2006), 77-88.
28. âPolitique et opĂ©ra: Les reprises de Tarare (Beaumarchais, Salieri), de 1787 Ă 1819â, in Vives Lettres, 13 (2002), 11-28.
29. âParody and the comĂ©die mĂȘlĂ©e dâariettes, 1752-1789â, in D. Connon and G. Evans (eds.), Essays on French Classical Drama from the 1640s to the 1780s (Bern: Peter Lang, 2000), pp.185-203.
30. âBernardin de Saint-Pierreâs writings on ethics: from the Ecole Normale to the Institut de Franceâ, in L. Duffy and C. Emerson (eds.), La Nature dĂ©voilĂ©e: French Literary Responses to Science (Hull: Hull U.P., 2000), pp.39-58.
31. âLes parodies du Devin du village de Rousseau et la sensibilitĂ© dans lâopĂ©ra-comique françaisâ, Bulletin de la sociĂ©tĂ© liĂ©geoise de musicologie, 13-14 (1999), 123-41.
32. âFonctionnement des timbres dans Les Amours de Bastien et Bastienne de Mme Favart et Harny de Guervilleâ, in H. Schneider (Hg.), Timbre und Vaudeville, zur Geschichte und Problematik einer populĂ€ren Gattung im 17. und 18. Jahrhundert, âMusikwissenschaftliche Publikationenâ, Band 11, (Hildesheim-ZĂŒrich-New York: Georg Olms, 1999), pp.226-43.
33. âMusic and the specificity of languages: Rousseau and the problem of translationâ, in J. Proud and D. Bickerton (eds.), The Transmission of Culture in Western Europe, 1750-1850: Papers celebrating the bicentenary of the âBibliothĂšque Britanniqueâ (1796-1815) in Geneva (Bern-New York: Peter Lang, 1999), pp.129-46.
34. ââPeindre sa voix pour soutenir son rĂŽleâ: The use of Ă©criteaux in Lesageâs Théùtre de la Foire and the transgressionary nature of the aestheticâ, in L. Duffy and A. Tudor (eds.), Les Lieux interdits: Transgression and French Literature (Hull: Hull U.P., 1998), pp.114-45.