Reviews'Rousseau on Stage is a handsome book with thirteen illustrations, and its contributors include some well-known Rousseau scholars, such as Jacqueline Waeber and David Marshall. While the book is directed at an audience of Anglophone postgraduate students and scholars of French theatre, literature, and music, the footnoted translations make the material accessible to readers with little to no knowledge of French.' Modern Language Review

• List of illustrationsJean-Jacques Rousseau: a theatre and music chronologyAcknowledgementsList of abbreviationsMaria Gullstam and Michael O’Dea, Introduction: ‘La vérité est que Racine me charme’Part I. Rousseau as theorist of theatre and opera1. The anthropological foresight of the Lettre sur les spectacles, Felicity Baker2. The dramaturgy of Rousseau's Lettre à d’Alembert and its importance for modern theatre, Patrick Primavesi3. The voice of nature in Rousseau’s theatre: reconstructing a dramaturgy, Jørgen Langdalen4. Rousseau’s Pygmalion and the limits of (operatic) expression, Jacqueline WaeberPart II. Rousseau as playwright5. Pygmalion’s power struggles: Rousseau, Rameau and Galathée, Maria Gullstam6. Rousseau and his early comedies: the concept of the comic, Marie-Emmanuelle Plagnol-Diéval7. Rousseau’s Pygmalion and the theatre of autobiography, David MarshallPart III. Rousseau’s operatic and theatrical posterity8. The melodic language of Le Devin du village and the evolution of opéra-comique, David Charlton9. Rousseau’s ghost: Le Devin du village at the Paris Opera, 1770-1779, Michael O’Dea10. A theatrophobic dramatist: J.-J. Rousseau’s position in theatre historiography and on today’s stage, Willmar Sauter11. The judgement of Rousseau: Paride ed Elena by Gluck and Calzabigi (Vienna, 1770), Magnus Tessing SchneiderSummariesBibliographyIndex

Reviews'Rousseau on Stage is a handsome book with thirteen illustrations, and its contributors include some well-known Rousseau scholars, such as Jacqueline Waeber and David Marshall. While the book is directed at an audience of Anglophone postgraduate students and scholars of French theatre, literature, and music, the footnoted translations make the material accessible to readers with little to no knowledge of French.' Modern Language Review

• List of illustrationsJean-Jacques Rousseau: a theatre and music chronologyAcknowledgementsList of abbreviationsMaria Gullstam and Michael O’Dea, Introduction: ‘La vérité est que Racine me charme’Part I. Rousseau as theorist of theatre and opera1. The anthropological foresight of the Lettre sur les spectacles, Felicity Baker2. The dramaturgy of Rousseau's Lettre à d’Alembert and its importance for modern theatre, Patrick Primavesi3. The voice of nature in Rousseau’s theatre: reconstructing a dramaturgy, Jørgen Langdalen4. Rousseau’s Pygmalion and the limits of (operatic) expression, Jacqueline WaeberPart II. Rousseau as playwright5. Pygmalion’s power struggles: Rousseau, Rameau and Galathée, Maria Gullstam6. Rousseau and his early comedies: the concept of the comic, Marie-Emmanuelle Plagnol-Diéval7. Rousseau’s Pygmalion and the theatre of autobiography, David MarshallPart III. Rousseau’s operatic and theatrical posterity8. The melodic language of Le Devin du village and the evolution of opéra-comique, David Charlton9. Rousseau’s ghost: Le Devin du village at the Paris Opera, 1770-1779, Michael O’Dea10. A theatrophobic dramatist: J.-J. Rousseau’s position in theatre historiography and on today’s stage, Willmar Sauter11. The judgement of Rousseau: Paride ed Elena by Gluck and Calzabigi (Vienna, 1770), Magnus Tessing SchneiderSummariesBibliographyIndex