Becoming a citizen: The chorus inRisorgimentoopera

Just as politics can be analysed as a cultural and symbolic enterprise (that is, as theatre in the broadest sense), so too can theatre or opera (in a narrower sense) be analysed as political. Jonathan Dollimore identifies various conflicting processes at work in Renaissance English theatre: the ‘consolidation’ of power by a dominant order; the ‘subversion of that order’ and the ‘containment of ostensibly subversive pressures’. We need not accept Dollimore's essentially Marxist analysis of these processes in order to recognise the validity of his assertion that ‘the theatre is a prime location for the representation and legitimation of power’. But the way such power is consolidated, subverted or contained depends on the political and social systems in which the theatre operates. The issues are complex enough when one focuses on plays produced in Elizabethan or Jacobean London. They become even more difficult to sort out when single works or groups of related works are performed over a period of time in various locations, each with its own societal configuration, as in the different political entities that comprised the Italian peninsula during the first half of the nineteenth century (to which might be added the other European and even American audiences to which they were played). Under such circumstances, how can we measure the political implications of these works? Where does their meaning reside? How does that meaning change as a function of time or geography?