Albert Dubosq, ou les tribulations européennes d'un fonds de maquettes de spectacles

À l'occasion de cet atelier consacré aux maquettes d'opéra et de théâtre récemment redécouvertes dans les fonds des Bibliothèques municipales de Grenoble, ils présenteront les premiers résultats de leur enquête sur ce fonds décoratifs d'une centaine de pièce qu'ils ont pu récemment attribuer au décorateur Albert Dubosq, en réfléchissant aux enjeux de transmission, conservation et patrimonialisation des archives du spectacle vivant.

Bruno Forment studied music theory and art studies (PhD, UGent, 2007). He was a visiting BAEF and Fulbright fellow at the University of Southern California. The support of FWO-Flanders allowed him to continue his research on 18th-century opera and on illusionistic scenography, and more particularly on the ‘Dubosq’ collection, Europe's largest collection of historical stagesets, which he discovered in Kortrijk and saw recognized as Flemish top heritage. He is the author and editor of (Dis)embodying Myths in Ancient Régime Opera (Leuven UP, 2012), Theatrical Heritage: Challenges and Opportunities (Leuven UP, 2015), Zwanenzang van een illusie (KGOKK, 2016), and Droomlanders: Tovenaars van het geschilderde toneeldecor (Davidsfonds, 2021). He published articles in among others Cambridge Opera Journal, Eighteenth-Century Music, and Early Music, next to book chapters in among others Staging Verdi and Wagner (Brepols, 2015) and Carmen Abroad: Bizet's Opera on the Global Stage (Cambridge, 2020). His work has been awarded by the Schweizerische Musikforschende Gesellschaft, Goldberg Early Music Magazine and the Province of Western Flanders. Since 2016, Bruno Forment has been teaching Contemporary Music Theater at the Royal Conservatoire of Ghent. He is on the editorial board of Eighteenth-Century Music (Cambridge UP). In 2019 he became a research fellow at the Orpheus Instituut, where he is leading the ‘Resounding Libraries’ cluster established around the Ton Koopman collection.