Une exposition musicale universelle. Palais du Trocadero, 1878

The Musical Times, 2002

The Macksey Journal, 2020

Communication dans le cadre du colloque "Paris et Londres 1851-1900 : espaces de transformation"- Maison française d'Oxford, 23 et 24 octobre 2015. During the second half of the nineteenth century, Paris and London became modern urban spaces convulsed by the most fundamental transformations. As the redevelopment of the cityscape was in constant metamorphosis, they appeared as « monster cities », in which the artist observed the fascinating inhuman grotesquerie. The reader or spectator witnessed a visual display of modern urban life, described through the arts in terms of various subjective distortions, and drawn in bizarre shapes, inherited from the theatre of shadows, or the pantomime. The world was then de-formed, and so was language. Therefore, the music hall becomes an emblem for a kind of metaphysical contortion, or a caricature of life, and its meaning.

Dix-Neuf, Journal of the Society of Dix-Neuviémistes, 2020

My article discusses how the universal exposition is displayed in the Petit Palais museum in Paris. The Petit Palais’ articulation of its own relationship to the Exposition of 1900 raises important questions about whether or not the full and complex history of the exposition can be on display in the same space reserved for national pride and mass tourism. Through a reading of the permanent installation at the Petit Palais, I examine what the universal exposition reveals about grappling with legacy.

Theatre spaces for Music in 18th-century Europe, 2020

This book explores the specificity and heterogeneity of the spaces used for opera during the eighteenth century from a multidisciplinary point of view. Architects, musicologists, and theatre specialists examine various cases involving the dense network of court and public theatres, including the ephemeral ones, the multiple aspects of theatre presentations in different architectonic spaces, and the various contexts and occasions of social life and representativity. The theatrical space is analysed through its deep connections with music, and vice versa, since every musical performance was capable of transforming any space into a theatre. Thus, the musical performance could enhance the theatricality of ephemeral architecture, giving it not only visual splendour but also the perception of spatiality, thanks to the creation of a defined sound within that frame. The artistic representation of music could turn a space into a theatre, no matter whether it was the sculptural one of a nativity scene or the pictorial one of a portrait gallery. The symbolic interconnection between theatre and music occurred in the ritual space of the courts as well as in the staging of power itself. ISBN 978-3-99012-771-1

Major international events like the Olympics and World Expos are a cross-sectional specimen of life at a certain point in time. The events themselves also tend to leave a mark of their own in history. This essay will attempt to understand the Paris Exposition of 1889 and to trace the impact this event has had on the development of music. This will be done through an analysis of the works of two important figures that were, in their own ways, affected by the exposition: Claude Debussy and Thomas Edison.

Theatre Architecture from the Renaissance to the 21st Century. 1st. ed. Rio de Janeiro: Unirio/PROEXC/CNPq. v. 1. , 2017

Public places of performance in the late sixteenth and early seventeenth century in London, Madrid, and Paris were “found spaces” adapted from older structures that had different architectural meanings, and they established dissimilar possibilities in the relationship between the stage and the audience in the Golden Age. This essay aims to discuss the basic differences and similarities between types of public playhouses in the aforementioned cities from 1580 to 1680, examined from the perspective of the semiotics of space and cultural history, to understand the symbolic and social relations that may be drawn from the structural principles of their architecture. This research is a result of my stay in Paris and London in 2011 as a Research Fellow at Collège de France (CNPq scholarship). Lima, E. F. W., 2017, "Amphitheatres, Jeux de Paume, and Corrales". In: Theatre Architecture from the Renaissance to the 21st Century. 1st. ed. Rio de Janeiro: Unirio/PROEXC/CNPq. v. 1. pp.8-24.

Cultural Colonialism: A comparison of the Palais Garnier and the Khedivial Opera House through Haussmannization, 2019

Companion to Architecture in the Age of Enlightenment, 2017

Journal for Eighteenth-century Studies, 2009

The sightlines which architects such as Oppenord and Roubo the Younger drew on their theatre plans demonstrate an attempt to align stage spaces and optical fields. Indeed, the reform-minded architects of the period 1748 to 1784 applied geometrical forms to their plans, and adopted a terminology borrowed from optics, the science of light and vision. In focusing specifically on the theoretical texts and architectural drawings published between 1765 and 1784, we argue that this use of optical space indicates a dislocation between, on the one hand, the spatial representation which the French reformers promoted in their drawings and, on the other, stage perspective, which had, since the previous century, been associated with the influence of the Italian Baroque. In the 1780s, architects gradually abandoned the use of stage perspective, preferring instead a theatrical space modelled after an ostensibly natural optical encounter.