Safe havens or sites of the ethically unpalatable? Child massacre and torture in contemporary opera production

2013 ◽  
Vol 4 (1) ◽  
pp. 75-78
Author(s):  
Caroline Radcliffe
Keyword(s):  
Contemporary Opera ◽  
Opera Production

scholarly journals Controversies of the Mai 68 Opera in Philosophical Contexts of Actual Opera Production

2018 ◽  
Vol 66 (2) ◽  
pp. 195-207
Author(s):  
Jozef Cseres
Keyword(s):  
Czech Republic ◽  
Gilles Deleuze ◽  
Felix Guattari ◽  
Philosophical Thought ◽  
Morton Feldman ◽  
Contemporary Opera ◽  
Opera Production

Abstract In his paper, the author reveals the poetical controversies of the Mai 68 opera (2008) by Petr Kofroň, Zdenek Plachý and Jiří Šimáček as well as its controversial reception by Czech opera critics. Comparing the poetical principles of the mentioned authors with those applied in stage works by Morton Feldman, Martin Burlas and John Zorn, and arguing with the philosophical concepts of Gilles Deleuze and Félix Guattari and actual concepts of postmodern aesthetics, he outlines the poetical features of current opera production in the context of actual philosophical thought and intermedia aesthetics. In this broader framework, in spite of some defects in staging, he considers Mai 68 a very real and influential contribution to the opera world in Czech Republic and Slovakia, comparable with the contemporary opera works worldwide.

Drama-Music Communication in Opera Performance

2021 ◽  
Vol 13 (62) (SI) ◽  
pp. 313-320
Author(s):  
Roxandra TĂBĂCARU
Keyword(s):  
Musical Scores ◽  
Baroque Opera ◽  
Contemporary Opera ◽  
Opera Production

The study “Drama-Music Communication in Opera Performance” builds on my 35-year experience of lyric drama in opera production. In my career as a director, which spanned from Baroque opera to contemporary opera, I was intrigued by the multiple connections between the musical dramaturgy, vocal expressiveness, stage image and impact on the audience. Consequently, I realised that all these elements which rely on musical scores are connected by something similar to the principle of communicating vessels: with genuine and intense musical-dramatic communication, the artistic emotion may reach the same level in all the components of the connections mentioned above.

La Traviata Affair

2018 ◽  
Author(s):  
Hilde Roos
Keyword(s):  
South Africa ◽  
Racial Boundaries ◽  
Cultural Organization ◽  
Colored People ◽  
Art Forms ◽  
Group A ◽  
La Traviata ◽  
Apartheid Regime ◽  
Opera Production ◽  
The Way

Opera, race, and politics during apartheid South Africa form the foundation of this historiographic work on the Eoan Group, a so-called colored cultural organization that performed opera in the Cape. The La Traviata Affair: Opera in the Time of Apartheid charts Eoan’s opera activities from its inception in 1933 until the cessation of its work by 1980. By accepting funding from the apartheid government and adhering to apartheid conditions, the group, in time, became politically compromised, resulting in the rejection of the group by their own community and the cessation of opera production. However, their unquestioned acceptance of and commitment to the art of opera lead to the most extraordinary of performance trajectories. During apartheid, the Eoan Group provided a space for colored people to perform Western classical art forms in an environment that potentially transgressed racial boundaries and challenged perceptions of racial exclusivity in the genre of opera. This highly significant endeavor and the way it was thwarted at the hands of the apartheid regime is the story that unfolds in this book.

Marco Faustini and Venetian Opera Production in the 1650s: Recent Archival Discoveries

1992 ◽  
Vol 10 (1) ◽  
pp. 48-73
Author(s):  
Beth L. Glixon ◽  
Jonathan E. Glixon
Keyword(s):  
Opera Production

scholarly journals Current Opera Production in the Repertoire of the Slovak National Theatre in 1960s

2018 ◽  
Vol 66 (1) ◽  
pp. 5-22
Author(s):  
Michaela Mojžišová
Keyword(s):  
20Th Century ◽  
Social Motivation ◽  
National Theatre ◽  
The Social ◽  
The 1960S ◽  
Opera Production ◽  
Opera Productions

Abstract The study deals with the increase in the introduction of modern opera production at the Slovak National Theatre in the 1960s. The author interprets it not only as an attempt of dramaturgy to enliven the traditional repertoire, but in particular as an ambition to apply more modern theatrical poetics in the production opera practice. Since there was no practice of updating classic opera production in Slovakia in the sense of “Regietheater” at that time, this production of the 20th century was considered to be the most realistic way of reviving opera. At the same time, the study highlights the social motivation of this intention: an effort to address a new, progressively oriented audience that would create appeal for a conventionally oriented audience that primarily focuses on the musical-vocal component of opera productions.

Scala Is Scala and Eoan Is Eoan: The Struggle to Breathe

2018 ◽  
pp. 98-139
Author(s):  
Hilde Roos
Keyword(s):  
South Africa ◽  
Family Relations ◽  
Cape Town ◽  
Job Opportunities ◽  
The 1960S ◽  
Professional Artists ◽  
Opera Production

Chapter 4 covers the latter half of the 1960s, a time during which the group consolidated its reputation as an opera company, not only in Cape Town, but also elsewhere in South Africa. The chapter illustrates how operatic activities were pursued with immense energy and dedication as members sacrificed time, family relations, and job opportunities to be able to participate in opera production. During this time, they remained hopeful that acknowledgment as professional artists on a par with their white counterparts would be forthcoming. This period, however, also saw the tightening grip of apartheid starting to take its toll as the system relentlessly continued to foil the group’s aspirations.

Gestures of institutional critique

2018 ◽  
pp. 26-50
Author(s):  
Sruti Bala
Keyword(s):  
Institutional Critique ◽  
Artistic Practice ◽  
Participatory Art ◽  
Institutional Conditions ◽  
Tel Aviv ◽  
Activist Group ◽  
Visual Artist ◽  
Participatory Performance ◽  
Opera Production

Chapter I deals with the question of institutional critique in relation to participatory art. What is the place of institutional critique in relation to participatory performance? The chapter reflects on the conundrums of institutional critique, exploring the formation of participatory art forms as emergent from the critique of mainstream art institutions. It compares a number of approaches to institutional critique: the institutional affiliations of a community-based theatre project from Darfur, Sudan, a flash mob performance by an Israeli activist group protesting a Cape Town Opera production in Tel Aviv Opera House, a breaching experiment by visual artist Pilvi Takala, of trying to enter Disneyland dressed as Snow White, amongst others. Sometimes the gesture of critique consists in building counter-institutions, and sometimes in fleeing them. Institutional critique, understood as the explicit use of an artistic practice to interrogate, oppose or break out of art institutional frameworks has very asymmetrical trajectories across the world and across domains. The chapter argues that the changing institutional conditions of participation expose not just the norms of a certain institution, but also its specific traditions of institutional critique.

Flat Bayreuth: A Genealogy of Opera as Screened

2019 ◽  
Author(s):  
Gundula Kreuzer
Keyword(s):  
Visual Illusion ◽  
Acoustic Environment ◽  
Screening Techniques ◽  
Contemporary Opera ◽  
Opera Productions ◽  
Picture Frame

Gundula Kreuzer challenges common assumptions about the ‘screenification’ of contemporary opera productions by reconsidering historical screening techniques within staged opera. Beginning with the Baroque picture-frame stage, she highlights how a desire for visual illusion on stage came into conflict with the increasingly complicated array of equipment, scenery, and props required to produce such elaborate scenes. Retracing strategies tested out at Wagner’s Festspielhaus at Bayreuth, she argues that the theatre’s curtain line came to imply an invisible screen with the capacity to organize the various media on the deep stage into a unified whole, a perception fostered by the visual and acoustic environment of the auditorium. Rather than a part of the telos of modernist painting, she highlights this flattened planar format as the outcome of technical and aesthetic conflict, whose legacy proves highly relevant to contemporary experiments with operatic staging.

scholarly journals Commercial Television in Indonesia

2019 ◽  
Vol 175 (2-3) ◽  
pp. 155-176
Author(s):  
Maria Myutel
Keyword(s):  
Soap Opera ◽  
Soap Operas ◽  
Community Members ◽  
Commercial Television ◽  
Religious Minority ◽  
Commercial Soap ◽  
Opera Production ◽  
Television Formats

Abstract This article sheds light on previously unknown aspects of Indonesian private television by focusing on the role of the ethno-religious minority of Indonesian Sindhi in the establishment and development of commercial soap opera production. Part of the global trading community of Sindhayat, the local Sindhis have mobilized their translocal and transnational networks to take a dominant position in the emerging sector of national media. Grounded in long-term ethnographic fieldwork among media practitioners and Indonesian Sindhi community members, the article examines how Sindhis’ sense of community and shared desires and sentiments have resulted in a lack of variety of television formats and the introduction of Islam-themed soap operas to prime-time television.

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