To see the other types of publications on this topic, follow the link: Turks in opera.
Journal articles on the topic 'Turks in opera'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Turks in opera.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Hooker, Lynn. "Turks, Hungarians, and Gypsies on Stage: Exoticism and Auto-Exoticism In Opera and Operetta." Hungarian Studies 27, no. 2 (2013): 291–311. http://dx.doi.org/10.1556/hstud.27.2013.2.7.
Full text
2
Mosusova, Nadezda. "Prince of zeta by Petar Konjovic: Opera in five/four acts on the 125th anniversary of the composer's birth." Muzikologija, no. 8 (2008): 151–63. http://dx.doi.org/10.2298/muz0808151m.
Full textAbstract:
Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the second and final 1929-1939), followed by Kostana (1928), Peasants (1951) and Fatherland (1960). Konjovic's mature operas are characterized by his masterful handling of form, both in close-ups and in detail, as well as his deeply individual assimilation of musical folklore into his work. The Prince of Zeta is not to be understood as a folk opera, but some main themes are directly derived from folk music, precisely from the Montenegrin folk songs quoted in the Mokranjac's Ninth Garland and treated in Konjovic's post-romantic, almost expressionistic way, interwoven with some Italianate leitmotifs, so as to present the opera's two worlds, Montenegrin and Venetian. In the process of forming Konjovic's operatic style, with vocal parts based mainly on the principle of declamation, the opera Prince of Zeta (first performed in Belgrade, 1929, conducted by Lovro von Matacic) proved to be a work of great impact. Hardly anyone grasped then the wide sweep of inspiration which allowed the composer to set and to solve several important problems connected with music drama, essential also in his subsequent stage works. First of all, Konjovic had to handle in his own way the verbal drama the prototype of his opera, Maxim Crnojevic by the Serbian poet Laza Kostic (1841-1910). Permission came from the playwright in the first decade of the 1900, Prince of Zeta being partly set musically, but from then on with new interventions in the poet's text. Being a highly skilled writer, poet musicologist and essayist (he wrote four books and a great number of articles on music and the theatre, and translated opera librettos of Wagner and Moussorgsky), Konjovic felt free to introduce some daring alterations to the literary works he used for his music dramas. So it was with the play Maxim Crnojevic, premiered in Novi Sad in 1870 (printed in the same place in 1846 and 1866). On the other hand, the young poet Kostic (he was in his early twenties when he wrote Maxim Crnojevic) had the prototype for his play in the folkpoem The Marriage of Maxim Crnojevic, turning a naturalistic folk-story into a Hellenic-Shakespearian drama of friendship and love, full of chivalrous deeds and emotions. The once handsome Maxim, his face ruined by heavy disease, can no longer make his marriage with the doge's daughter Angelica (with whom he was already acquainted). The nobles of Montenegro particularly Ivo Crnojevic, who in the meanwhile, proud of his son, boasted in Venice, conspire a doublecrossing plot (with another man, Milos resembling Maxim as bridegroom) which works in the folk-poem, in some ways in drama, but not in the opera, with the story changed by Konjovic. The difference between drama and folk poetry is essential: in Montenegro Maxim murders Milos for the doge's daughter's dowry, on their way back. In the play, too, the tragic event takes place in Montenegro: on the way home Maxim kills Milos, thinking Milos is going to keep the beautiful Angelica for himself (the agreement was that he will hand over the bride to Maxim immediately after the wedding in Venice), then commits suicide realizing his fatal mistake. The girl, deeply disappointed leaves Montenegro. In the opera Maxim reveals the truth to Angelica in Venice, before she is to be wedded with Milos, and stabs himself. She chooses death also, drinking poison - a dramatically and musically very capturing finale in the style of Romeo and Juliet! In some recently performed versions of the opera (1989) the director (Dejan Miladinovic) and conductor (Oskar Danon) returned to the playwright's original denouement, avoiding the Shakespearian end of Konjovic (although in the spirit of Kostic who was also appreciated as a skillful translator of Shakespeare into Serbian language). In the opera Prince of Zeta Konjovic focuses on Ivo Crnojevic, making his role dominant to that of Maxim. The unhappy father, the tragic Hellenic figure, is with his son Maxim the main historical personality in both opera and drama. Zeta forms part of present-day Montenegro but was independent for a short period, then came under Byzantium, and eventually Rashka-Serbia. After the fall of last remnants of the Serbian vassal state in 1439, Zeta was partly independent protected by Venetians under the ruler Ivo Crnojevic, before the Turks grasped Montenegro. Serbian drama, which is usually trochaic, took an iambic course in Kostic's play. The composer preserved the poet's iambs, following the musically accented flexions of spoken language, which remains the main feature of his style. The impressive vocal parts, especially those of Ivo Crnojevic, starting from the Prologue and the first act, are supported by the dynamic and highly symphonized orchestra. For effective choral music the monks' ensemble in the second act (in the final version) and the dramatic Venetian carnival scene with the stylized Montenegrin folk-dances should be noted in both versions. With Prince of Zeta the author definitely made a distinguished name as a composer in Serbian culture, with a strong influence on younger generations of Serbian musicians.
3
Young, Toby. "Triptych, Opera Erratica; The Print Room, London." Tempo 68, no. 270 (2014): 79–80. http://dx.doi.org/10.1017/s0040298214000412.
Full textAbstract:
There was a pleasantly informal atmosphere at The Print Room during the premiere run of Opera Erratica's new Triptych this May. Comprising three short operas for voices and electronics, Triptych presented a new interpretation of contemporary chamber opera, incorporating elements of multimedia – including live video and photographic projections – alongside elements of more traditional art forms, such as a strikingly cartoonish set by the Young British Artist Gavin Turk.
4
LÜTTEKEN, LAURENZ. "NEGATING OPERA THROUGH OPERA: COSÌ FAN TUTTE AND THE REVERSE OF THE ENLIGHTENMENT." Eighteenth Century Music 6, no. 2 (2009): 229–41. http://dx.doi.org/10.1017/s1478570609990017.
Full textAbstract:
ABSTRACTAmong the operas on which Mozart and Da Ponte collaborated, Così fan tutte is a special case. In some ways, the libretto is more conventional than those provided for Le nozze di Figaro or Don Giovanni, and Mozart was not the first composer asked to set it. To understand the work best, it is necessary to read the text closely. This article concentrates on a few, highly significant characteristics – in particular, the locations in which the opera takes place. Such details provide the foundations for surprising insights into the opera. First, the libretto deals with central issues in eighteenth-century aesthetics, but the mechanist philosophy that informs the plot (reminiscent of that theorized by Julien Offray de La Mettrie in L'Homme machine) defuses these issues over the course of the action. Secondly, the music that turns the libretto into an opera resonates with specialist issues of eighteenth-century music aesthetics, often to turn them, once again, on their heads. In the last analysis, Così fan tutte is an opera in which both text and music question truth and reliability, and the consequences are serious for the opera, for music and for the very Enlightenment itself.
5
Borkowska-Rychlewska, Alina. "Zamek na Czorsztynie Karola Kurpińskiego – romantyczność in statu nascendi?" Roczniki Humanistyczne 67, no. 1 (2019): 53. http://dx.doi.org/10.18290/rh.2019.67.1-5.
Full textAbstract:
Karol Kurpiński’s operatic works played a unique role in the process of shaping new trends in Polish opera theatre and in theatrico-musical criticism at the border of Enlightenment and Romanticism. The article presents press discussions devoted to the operas of the author of Zamek na Czorsztynie [The Czorsztyn Castle] in the 1920s, i.e. at the time of their first stagings in the National Theatre in Warsaw. Numerous controversies and contradictions that appear in the 19th-century reviews of Kurpiński’s operas testify to how difficult it was for his contemporary critics to explicitly classify and evaluate these works. A thorough review of the press at that time also shows that the dramatic and musical works by the author of Pałac Lucypera [Lucyper’s Palace], as great examples of the genological complexity of opera forms at that time and an important element of the process of formation of the so-called national opera programme, constituted an excellent starting point for discussions between the two opposition socio-cultural camps formed in Warsaw in the last years of the 1920s, which represented different aesthetic ideals and understood the tasks and functions of theatre criticism in two different ways. However, as it turns out, the statements of the representatives of the antagonistic camps about Kurpiński’s works did not follow a single, simple scheme – on the contrary, the controversies between the Classicist critics and their opponents were arranged in a very complicated and heterogeneous pattern. This multi-faceted reflection of the 19th-century critics on his works perfectly illustrates the fluidity and fuzziness of tendencies regarded in the research tradition as contradictory, i.e. the “Classical” and “Romantic” tendencies, which leads to the verification of some judgments about the composer and the reception of his output formulated in the contemporary works of music, theatre and literary historians.
6
Giger, Andreas. "Behind the Police Chief's Closed Doors: The Unofficial Censors of Verdi in Rome." Nineteenth-Century Music Review 7, no. 2 (2010): 63–99. http://dx.doi.org/10.1017/s147940980000361x.
Full textAbstract:
A certain Filippo Nardoni, upon completing his review of the libretto of Giuseppe Verdi'sDon Alvaro(the Roman version ofLa forza del destino), wrote to the director of the police: ‘I have marked in pencil the proposed corrections, which I have thought advisable for the wretched subject of the opera. If you don't like them, they can be easily erased with sandarac’. It seems strange that an ostensible censor would correct a libretto and then not mind seeing his corrections erased; censors were, after all, gatekeepers of morality and political propriety, and no libretto was supposed to be permitted without their approval. As it turns out, Nardoni was not an official Roman censor, and yet, he and other prominent personalities were more important in censoring Verdi's operas than their official colleagues. They were not only more rigorous when it came to identifying potentially dangerous passages but also worked as a team, passing the libretto around among themselves until an acceptable alternative was found.
7
Lavelle, Katherine L. "As Venus Turns: A Feminist Soap Opera Analysis of Venus Vs." Journal of Sports Media 10, no. 2 (2015): 1–16. http://dx.doi.org/10.1353/jsm.2015.0010.
Full text
8
Colas, Damien. "Questioning the frenchness of Le comte Ory." Studia Musicologica 52, no. 1-4 (2011): 373–92. http://dx.doi.org/10.1556/smus.52.2011.1-4.27.
Full textAbstract:
To talk about the Frenchness of Le comte Ory might sounds like provocation. Being basically a rifacimento of his Viaggio a Reims, Rossini’s penultimate stage work belongs to the corpus of Italo-French operas. Yet there are three reasons for looking at Le comte Ory as an authentic French opera. Firstly, in the newly composed parts of the work, Rossini avoided the traditional features of the closed numbers typical of the Italian tradition by inserting recitatives inside the numbers and by merging closed numbers and subsequent recitatives, especially at the end of Act II. Secondly, the French lines written by Scribe to fit the already composed music follow poetic patterns from the Middle Ages, of which the prosodic features were closer to Italian than Classical French. Last, the very choice of the legend of Ory is typical of the troubadour style that had been fashionable in Paris since the last decades of the 18th century, and it turns out that this particular legend was extremely popular back then, as witnessed by the variety of local variants that were published in the 19th century.
9
Cattaneo, Alberto S., Benoit Dherin, and Giovanni Felder. "Formal Lagrangian Operad." International Journal of Mathematics and Mathematical Sciences 2010 (2010): 1–36. http://dx.doi.org/10.1155/2010/643605.
Full textAbstract:
Given a symplectic manifoldM, we may define an operad structure on the the spacesOkof the Lagrangian submanifolds of(M¯)k×Mvia symplectic reduction. IfMis also a symplectic groupoid, then its multiplication space is an associative product in this operad. Following this idea, we provide a deformation theory for symplectic groupoids analog to the deformation theory of algebras. It turns out that the semiclassical part of Kontsevich's deformation ofC∞(ℝd) is a deformation of the trivial symplectic groupoid structure ofT∗ℝd.
10
Basheer, Zendal, and Gonegai Abdelkader. "Impact Des Feuilletons Turcs Sur Le Telespectateur Arabe : Cas De Maroc Et Yemen." European Scientific Journal, ESJ 12, no. 17 (2016): 431. http://dx.doi.org/10.19044/esj.2016.v12n17p431.
Full textAbstract:
This work aims to find out the impact of Turkish soap operas on Arab viewer in two different populations in the political and economic situation such as Morocco and Yemen, a survey is conducted on two universities: the University Hassan II in Morocco with about 151 students (48.40%) and the University of Sanaa in Yemen with 161 students (51.60%). The results of the survey showed that participants spend hours watching TV (over 3 hours) to 4.5% (depending on circumstances) to 57.1%. The lack of good Arabic drama is the main reason to watch Turkish soap operas for more than (79%) following the presentation of interesting and attractive subjects as for more than (79%), romantic themes, the performance of Turkish actors , the sets were remarkably beautiful (80%), physical beauty of the actors (70%), the attractiveness of the filming locations (88.14%) and dubbing in Arabic especially in Syrian dialect (57%). The study concluded the impact of Turkish soap operas on the Arab viewer by Turkish fashion (almost 60%) following by the beautiful nature of Turkey (more than 78%), put the ringtone of a Turkish song (45%). Most of the sample who thought of the acquisition of weapons as in the Turkish soap operas are from Yemen (80% Yemeni and 20% Moroccan) and dream to travel to Turkey is hoping to (more than 94%).
11
Butler, Jeremy G. "Notes on the Soap Opera Apparatus: Televisual Style and "As the World Turns"." Cinema Journal 25, no. 3 (1986): 53. http://dx.doi.org/10.2307/1225479.
Full text
12
Rossett, Allison, Cathy Keenan, and Gene Adgate. "“Aztechnology Turns:” A World wide web soap opera about change in the profession." Performance Improvement 36, no. 8 (1997): 20–25. http://dx.doi.org/10.1002/pfi.4140360807.
Full text
13
Morris, Ronald V. "Use Primary Sources to Develop a Soap Opera: As the Civil War Turns." Social Studies 93, no. 2 (2002): 53–56. http://dx.doi.org/10.1080/00377990209599882.
Full text
14
Zhao, Run. "Factor-Based Quantitative Comparison Analysis of the Inheritance of Intangible Cultural Heritage: A Case Study of Kunqu Opera between Chinese Mainland and Taiwan." Asian Culture and History 12, no. 2 (2020): 23. http://dx.doi.org/10.5539/ach.v12n2p23.
Full textAbstract:
In 1940s, the Kuomintang (KMT) retreated to Taiwan, along with a lot of amateur artists accomplished in singing and dancing of Kunqu Opera. Due to unlike and separate social environments, Kunqu Opera developed into two different ways in Taiwan and Chinese mainland since then. In contrast with Taiwan’s choice to maintain the tradition of Kunqu Opera, especially that of 1930s as much as possible, Chinese mainland turns to modernize this art to cater to social trends. This paper analyses two versions of the same scene “Broken Bridge” (断桥) from Taiwan and Chinese mainland in spoken language, melody, literary form of lyrics, dance, stage set and costumes to try to find the factors that are not changed, which can be understood as the core factors with inherited cultural values of the intangible cultural heritage. Based on these core factors, the effective protection is possible. This research shows that although Kunqu Opera in Chinese mainland is gradually changing, particularly turning realistic as opposed to the one keeping impressionistic in Taiwan, there are some factors almost untransformed: the melody (kunqiang), literary form of lyrics (qupai style), costumes evolving from the dress of Ming dynasty. An effective protection method of Kunqu Opera should put emphasis on these factors.
15
Haggett, George K. "Bushra El-Turk and Eleanor Knight, Silk Moth Grimeborn, 9 August 2019." Tempo 74, no. 291 (2019): 103–5. http://dx.doi.org/10.1017/s0040298219000834.
Full textAbstract:
When Eleanor Knight began researching her libretto for Silk Moth, she had to decide how to frame an opera about honour violence. Meeting women whose lives it had ruptured through the Iranian and Kurdish Women's Rights Organisation, she confronted the usual images that accompany the dozen-or-so honour killings per year in the UK media. Between the ‘old, faded school photos’ that illustrate victimhood and the male perpetrators with ‘blankets over their heads … shoved into waiting police cars’, she saw a gulf of painful complexity. ‘What’, she asks, ‘of the mothers?’.
16
Parker, Roger. "‘Opera and …’: The Pleasures and Perils of Amalgamation." Cambridge Opera Journal 32, no. 2-3 (2020): 253–58. http://dx.doi.org/10.1017/s095458672100001x.
Full textAbstract:
We might start with the Index, often a good indicator of a book's flavour, its local habitation. First up is ‘Abbate, acoustics, acting, Adler, Adorno’, a reassuring miscellany; later on, the German-speaking collective of ‘Schopenhauer, Schreker, Schubart, Schumann-Heink’ awakens memories of time past. ‘Ventilation systems, Verdi, vitalism’, however, turns on the landing lights for a distinctly new approach, while ‘hygiene [both mental and moral], hyperacusis, hyperaesthesia acoustica, hypnosis, hysteria’ ushers in another region entirely: medicine, pathologies. Starting at the end, we are thus prepared: a sense of anticipation is allied to hopes of intriguing surprises in the offing. And such expectations are on the whole justified. In spite of its title – that fence-sitting conjunction – this collection is a worthy and serious attempt to write new chapters in musicology's revolving challenge to the internalist preoccupations of its past.
17
Markstrom, Kurt. "The Eventual Premiere of Issipile: Porpora and the Palchetti War." Articles 33, no. 2 (2015): 53–69. http://dx.doi.org/10.7202/1032695ar.
Full textAbstract:
“Where Porpora is concerned, misfortune is bound to ensue. Beware, in faith, of having anything to do with his company.” Metastasio’s damning indictment of Nicola Porpora in a letter published in his Opere (the offending passage omitted from Charles Burney’s English translation) is put into the context of the “Palchetti Wars” in Rome in 1732/33 and a court case against the impresario Francesco Cavanna of the Teatro della Dame. The court case was filed by a group of musicians, presumably led by Porpora, after the cancellation of the premiere of his Issipile during the spring of 1732 as a result of the closing of the theatres by the pope due to the controversy between the ambassadors of France and Austria over their boxes (palchetti) at the opera. In the court case between two of his old friends, Metastasio took the cause of the impresario over the composer because the case resulted in the bankruptcy of Cavanna and the closure of the della Dame. Although arrangements were made for the premiere of Porpora’s Issipile the following year at an alternate venue, the Teatro Pioli—which got around the theatrical ban by replacing its palchetti with a large balcony or palchettone, the della Dame, preserving its celebrated five tiers of palchetti—remained closed until 1738. This was probably part of the strategy of the directors of the delle Dame in dealing with the twists and turns of the palchetti controversy.
18
Shishkin, Andrei Gennadievich. "Repertory theater of production type – trends in the dialogue of cultures in modern music and theater culture (on the example of the Ural Opera Ballet Theater)." Культура и искусство, no. 5 (May 2021): 37–46. http://dx.doi.org/10.7256/2454-0625.2021.5.35614.
Full textAbstract:
This article reviews a new model of repertory opera theater of production type, which has emerged at the intersection of traditional repertoire and project, or production theaters: it represents a special channel of intercultural communication. Opera performance creates a space simultaneously in several dimensions – musical, verbal, and visual; it resembles a form of polylogue of the authors and stage directors of the performance, becomes a realization of the dialogue of cultures, and turns into a unique form of art involving the representatives of different cultural systems. This is proven by particular artistic experiences of the dialogue of cultures in modern opera on the example of Ural Opera Ballet Theater in Yekaterinburg and its projects “Satyagraha”, “The Passenger”, “The Greek Passion”, and “Three Sisters”. A number of important ideas of theoretical and historical culturology find practical substantiation: the paramount prerequisite for the effectiveness of any activity – the unity of theory and practice is realizes in the sphere of artistic culture. It is determined that within the framework of repertory theatre, production direction must take consider the time requirements that are solved in the field of the dialogue of cultures. The article demonstrates that the dialogue of cultures manifests as the dominant trend in the development of theatrical culture, allowing a more effective response of the creative process to the demands of time. It is proven that the work created in the process of the dialogue of cultures, which contains polyphony of voices, requires peculiar work with the audience, who is also engaged in dialogue with the performance.
19
POWELL, W. ANDREW. "Opera Where Money Is No Object A Look at the Salzburg Easter Festival as Its Founder Turns Eighty." Opera Quarterly 6, no. 2 (1988): 21–33. http://dx.doi.org/10.1093/oq/6.2.21.
Full text
20
Daub, Adrian. "The Ob-Scene of the Total Work of Art: Frank Wedekind, Richard Strauss, and the Spectacle of Dance." 19th-Century Music 39, no. 3 (2016): 272–89. http://dx.doi.org/10.1525/ncm.2016.39.3.272.
Full textAbstract:
This article examines the musical, literary, and theatrical practice of a group of early German modernists — above all Richard Strauss and Frank Wedekind. All of them turn to dance, its unmediated physicality, and its erotic charge to articulate a response to Richard Wagner's theatrical project, specifically the concept of the total work of art. Although Wagner had included a few ballet numbers in his mature operas, he treated the form (and the number as such) as a threat to a specifically operatic plenitude of sensuous meaning—dance, he feared, threatened to dance music and drama right off the stage. I argue that this allowed certain post-Wagnerians to interrogate Wagner's aesthetic through the category of obscenity — the dancer who, by dint of her brute physicality, could disturb and misalign theatrical spectacle became an important figure in their art. After a planned collaboration on a number of ballets came to naught, Strauss and Wedekind each turned to their native media to stage and interrogate balletic forms: Strauss through the medium-scrambling Dance of the Seven Veils in Salomé, Wedekind by inserting his ballet drafts into a strange novella, Minehaha, Or on the Bodily Education of Young Girls. Strauss's collaboration with Hugo von Hofmannsthal, which was to prove far more consequential and productive than the one with Wedekind, likewise began with an abortive ballet draft, and again came to reflect on dance's role in other media (opera and theater, in this case). Their reflections on the role of dance in operatic and theatrical spectacle find their expression in Elektra's final dance, which turns on its head the mysterious persuasiveness that Wagner had feared in dance and that Wedekind and Strauss had used to such effect in Salomé: a dance so expressive no one is moved by it.
21
Cotner, Jon. "A Squeeze of the Hand." Excursions Journal 3, no. 1 (2019): 1–9. http://dx.doi.org/10.20919/exs.3.2012.150.
Full textAbstract:
We recorded forty-five-minute dialogues for thirty straight days around New York City. Half these talks took place at a Union Square health-food store that we call “W.F.” Other locations included MoMA, the Metropolitan Museum of Art, the Metropolitan Opera House, Central Park, Prospect Park, and a Tribeca parking garage. What follows is our twentieth conversation. Here sickness, emptiness, a train delay, and an argument seem to prefigure disaster and the project’s sudden end. But this disaster—much like the two-character Japanese word for “crisis”: the first one meaning “danger,” the second, “opportunity”—offers clarities perhaps best expressed by a Japanese proverb:Luck turns
 Wait
22
Demchenko, Aleksandr. "Unique opera score by Mark Karminskyі". Aspects of Historical Musicology 19, № 19 (2020): 44–64. http://dx.doi.org/10.34064/khnum2-19.03.
Full textAbstract:
The main goal of this publication is to draw the attention of musicologists and the general music community to the rich creative heritage of Mark Karminskyi, whose 90th anniversary is celebrated in 2020. One of the milestone works of the talented composer was the opera “Ten Days That Shook the World” (1970). Staged at one time by several theaters in the former USSR and abroad, it was later practically forgotten. The author of this article is the first to deeply analyze Karminskyi’s score, coming to the conclusion that the composer has an innovative understanding of the very nature of the opera genre, and that this and other works of a great master should be analyzed and evaluated outside any ideological context. The research results. The uniqueness of Karminskyi’s opera “Ten Days That Shook the World” (1970) consists primarily in the fact that the maximum concentration of conflict-dramatic tension was achieved here. This concentration is due to a well-executed libretto (V. Dubrovskyi), which was also quite unique for its time. The fact is that the whole text is based on fragments from the book by John Reed, manifestos, leaflets, telegrams of 1917, speeches and letters by Lenin, as well as epitaphs of the field of Mars. During the free assemblage of the selected material, a completely independent literary canvas was formed. Based on specific documents, the authors sought to identify and emphasize the exciting dramatic pathos of the historical moment being recreated. That is why the libretto includes the most compressed, elastic in rhythm, explosive in meaning phrases, replicas, individual words. The final design of the selected texts went along the line of additional dynamization, strengthening of their “shock” impact. Total documentation and open journalistic verbal canvas led to a completely innovative interpretation of the genre. Here the principles of the grand historical opera were revived, but they were revived in a kind of transcendental version, which needs of gigantic artistic forces. Based on such a performing foundation, an attempt is made to recreate the colossal scale of revolutionary events. The leading musical image is conceived as a symbol of the inevitable course of History, a kind of pendulum of the revolution (in the performance of the Prague national theatre, the pendulum has become an important attribute of scenography). In various intonation and tempo variations, it permeates the opera as a whole in the full sense of the word, preserving unconditional recognition (primarily due to the constant rhythm and jerky articulation). This motif is one of the expressions of the “motor” of the revolution, for the materialization of which imitations of the active knocking of various mechanisms are used, all kinds of toccate formulas are reproduced. With the introduction of the noted motor layer, the atmosphere of sound documentary, so characteristic of this opera, is established. Another major musical reality of the revolutionary era is associated with all kinds of signaling – communicative, notifying, summoning, imperative. The composer does not seek to disguise the nature of this semantic layer and often emphasizes it using in its most elementary quality. The third component of the documentary – sound element is all sorts of orchestral tremoli (mainly in the lower register). In terms of meaning, their amplitude extends from describing the “subsoil” of what is happening (dull rumbling, unclear noise) to recreating the pictures of the raging flow of Time (violent seething, catastrophic bubbling). In any of its manifestations, with the introduction of this tool, different degrees of tension are poured into the sound wave. Defining for the dramaturgy of the opera “leitmotif of struggle” absorbs and transmits in the most generalized forms the characteristic for the documentaryjournalistic style of this work oratorical declamation, invocatory signaling and energy tremolo including the conflict tone of the main dissonance (here – the small second). In the marked lays of documentary-sound atmosphere, as a rule, the main energy of conflict is concentrated. Constant intonation-rhythmic and texture-dynamic injections of this energy give the dramatic movement a special purposefulness of the incessant “tidal” wobble. In turn, these forces themselves are subordinated to the determining regularity of compositional development: the increase in the activity of the life search, transmitted in procedural forms (on the basis of recitation), ends with the acquisition of the resulting state (on support of a bright melodic relief). Naturally, the highest degree of conflict is achieved in those scenes where there is a direct clash of the forces of revolution and counterrevolution. In music there is an extremely colorful, tense documentary-sound environment in which the clash of views, opinions, and positions is unfolding. The full magnitude of the social conflict is revealed in a kind of freeze-frames, where the initiative goes to the orchestra and the “oratorio” choir. In such cases, the narrative rises above the local soil, the musical and journalistic document acquires the comprehensive fullness of the epic canvas about the national movement, and the specific scenic and event series fits into the monumental frame of the oratorical frescoes. This generalizing plan, which at first seems to be accompanying, framing, in fact turns out to be leading in terms of volume and its centralizing role. In “Ten Days” not only the powerful offensive and dramatic potential of the revolutionary movement is recreated, but also its deep soil, the decisive component, is revealed by artistic means: it gained a powerful force and became truly ineradicable due to the support of the masses. This idea permeates the entire ideological structure of the work, since many oratorical episodes represent the personification of the voice of the people. As a result of the analysis of the opera “Ten Days that Shook the World”, we note the following. – The score in a concentrated manner expresses the current tendencies of large-scale opera drama, in particular, the revival of the genre of large historical opera based on the material of the revolutionary era, the defining features of which are realized in forms sustained in modern style. – The music embodies an exceptional conflict-dramatic tension and high civic pathos, which fully corresponds to the ideas about the character of that time.
23
Kruger, Jan-Louis. "Ideology and Subtitling: South African Soap Operas." Broadcasting with Intent 57, no. 2 (2013): 496–509. http://dx.doi.org/10.7202/1013958ar.
Full textAbstract:
This article investigates the ideological component of patronage in the subtitling of four South African soap operas: Generations, 7de Laan, Muvhango, and Isidingo. Taking the concepts introduced by Lefevere as point of departure, the article first discusses the various ways in which audiovisual translation (AVT) is subject to manipulation. This manipulation is shown to be a result of the fact that subtitles, as text superimposed onto the image during post-editing, thereby obscuring a small part of the screen, constantly foregrounds itself to the audience. This foregrounding is also affected by the linguistic background of the audience – whether or not they understand the original dialogue. The argument then turns to a discussion of AVT, and specifically subtitling, as rewriting. The link between language and ideology is discussed as it pertains to issues of power, particularly related to the role of English in the media, also in South Africa, where, in Gottlieb’s terminology, South Africa can be described as a multilingual anglophile context. The language policy of the South African Broadcasting Corporation is then discussed in terms of patronage and ideology followed by a discussion of the role of ideology in these four locally-produced soap operas. In this discussion the different ways in which the subtitling practices of the soap operas reflect ideology are investigated. The article concludes that accessibility plays a smaller role in subtitling in South Africa than the ideology of multilingualism and multiculturalism.
24
Bicer, Ramazan. "The Interactive Relation between Religious TV Programs and People in Turkey." International Journal of Online Pedagogy and Course Design 3, no. 3 (2013): 76–84. http://dx.doi.org/10.4018/ijopcd.2013070105.
Full textAbstract:
The aim of the topic is to deal with role of television on the lifestyle of people and their cultural and religious understanding. TV programs will be shown to change according to lifestyle, education and cultural understanding. Nevertheless, television has a great importance on the lifestyle of people. The religious understanding is a part of the lifestyle. Many Turks shape their cultural and religious understanding by watching television. The authors will deal with cultural and religious understanding from a socio-cultural perspective, exemplifying this by two Turkish television programs called 'Ekmek Teknesi' (Means of Livelihood) and 'Sir Kapisi’ (Door to Secret). The authors aim to examine the dimensions of these soap operas in the context of religious education, cultural and theological perspectives.
25
Щітова, С. А., and Г. О. Юфимчук-Заворотна. "Chronotope features in monoopera." Музикознавча думка Дніпропетровщини, no. 16 (December 18, 2019): 53–64. http://dx.doi.org/10.33287/221922.
Full textAbstract:
In the process of a creative act from the sphere of extra-linguistic(semantic areas) to the sphere of intra-linguistic (literary text), thephenomenon of time turns into the category of a chronotope. The purposeof this scientific article is to highlight the characteristics of themanifestation of the category of chronotope in monoopera. The round ofmethods are including a set of musicology, psychological, art history,linguistic approaches, supplemented by individual provisions of aninterdisciplinary synergetic discourse. Primarily, the comparative,structurally analytical, axiological, generalizing methods are receiving thepractice employment into the represented scientifically investigative 56disquisition. The relationship of analysis and observation methods gets themost significance into this scientific exploration. The scientific noveltyand practical value of this article consists in the fact that the results of thestudy can be used in compiling the curriculum programs „Analysis ofmusical works”, „History of world musical culture”, „Musicalinterpretation”, „Opera class”, „History of vocal performance”, „Methodsof vocal performance” for bachelors and masters of higher musicaleducational institutions of Ukraine, as well as in creative practice.Conclusions. The main results of the study include the conclusion that inthe mono-opera the paradigm of subjective (psychological) time is ofparticular importance. In the framework of the chronotope, in contrast tothe real chronological sequence, the events in the story do not develop in astraight line, but unfold in leaps and bounds. Thus, the transformation ofthe real phenomenon of time into the textual category of the chronotope iscarried out.
26
Puchalska, Iwona. "Poezja, muzyka i sumienie. O Lukanie w Koronacji Poppei Giovanniego Francesco Busenellego i Claudio Monteverdiego." Roczniki Humanistyczne 67, no. 1 (2019): 163. http://dx.doi.org/10.18290/rh.2019.67.1-11.
Full textAbstract:
The article discusses the role of Lucano in the dramatic structure of The Coronation of Poppaea. After a deeper analysis, the poet, an episodic figure, turns out to be an important element in the reconstruction of the ideological background of the works by Busenello and Monteverdi. This is achieved by context reading of the opera libretto in two fundamental aspects – biographical and literary, based on two groups of textual sources related to Lucano – the first consisting of information about his life and work, and the second, which is his own works. Particular attention was paid to the analysis of Farsalia, a poem that shows numerous ideological affinities to Busenello’s libretto. A detailed analysis of literary contexts also reveals the self-thematic aspect of the scene with Lucano’s participation and the moral aspects of poetic creation that emerge in connection with it.
27
Grutsynova, Anna P. "The Ballet “Les Noces de Pelée et de Thetis” (1653) Preserved in Visual Images." ICONI, no. 1 (2021): 75–89. http://dx.doi.org/10.33779/2658-4824.2021.1.075-089.
Full textAbstract:
The article is devoted to the ballet “Les Noces de Pelée et de Thetis” which was produced in 1693 in the Petit Bourbon Palace in Paris (according to the rules of the French theater of that time period) in order to complement the opera with the same name composed by Carlo Caproli. The basis for the plot of the production was the myth widely disseminated in art works about the mortal Peleus and the Nereid Thetis, transformed in correspondence with the aesthetics of that time. The Dance entrées followed each scene of the Italian opera and were connected with its each content, in its turn, forming a consistent, logically delineated narration. The published libretto conveys the plot, and at times the outer form of the action quite vividly and fi guratively. A description of the decorations and machines used in the ballet has also been preserved, as the result of which in our time it becomes possible to create a visual impression from the production. In addition, important defi ning details capable of providing a perception not only of the protagonists’ outward appearances, but also of a concrete distribution of roles between the performers are the sketches for numerous costumes preserved up to our time. Thereby, it turns out that in 17th century musical performance a considerable role is played by its visual solution, which, having been preserved in iconographic materials, is capable of helping create an impression from the overall conception of the production a few centuries after it happened.
28
Mizitova, A. A. "Marko Marelli’s vision of “Turandot” by Giacomo Puccini." Aspects of Historical Musicology 15, no. 15 (2019): 249–63. http://dx.doi.org/10.34064/khnum2-15.13.
Full textAbstract:
Background. As a notion, an opera theater led by a stage director has a strong presence in modern artistic practice, as it puts forward its own range of cognitive and evaluative tasks that undergo criticism. The fi rst task is related to compliance of the proposed rendition with the composer’s concept and music drama of a particular opera music piece. The second one is related to the director’s vision and understanding the peculiarities, which allows us to form an opinion about the comprehension degree of an author’s idea and the individuality of its implementation. The relevance of the designated semantic constants is reinforced by the variety of opera classics incarnation on famous opera stages. Objectives. The purpose of the article is to study and analyze the scenographic techniques that allow M. Marelli with his bright talent as a director to embody the opera plot and uncover incentive-psychological motifs that defi ne the deep content layer of G. Puccini’s “Turandot” opera. Methods. The study is based on a comparative method of analysis, with the help of which the validity of M. Marelli’s directorial concept by the dramatic concept and the semantic lines peculiarities of G. Puccini’s opera is revealed. Results. The stage performance of “Turandot” by G. Puccini on the famous opera stage of the Lake Constance was timed to coincide with the 70th anniversary of the Bregenz festival. For the implementation of this project, the Swiss stage director and designer Marco Arturo Marelli was invited for the fi rst time to organize it. The specifi c features of the huge stage forced all the natural conditions to be considered: wind, water, its level, and the weight of the theatrical scenery elements. Therefore, before creating the intended environment, M. Marelli built several preliminary models in search of the only solution that would combine the oriental fl avor and plot intrigue, hidden psychologism and bare emotions, intimacy and pompous mass scenes. The dramatic composition of the scenario, created by M. Marelli, makes it possible to tell how deep his comprehension of Puccini’s music is, as we observe its semantic components and the interaction of contrasting fi gurative lines, author’s remarks in the score, personal circumstances in the composer’s life, his letters, the conditions for creating an opera and a long search of ways to cut the knot of plot contradictions in the Finale part. The techniques he used reveal his artistic and aesthetic principles. This allowed him to create an organic fusion of intense musical and dramatic action, defused by ensemble, choral and dance scenes, visual effects that decode psychological subtext, and the theatrical scenery itself, which specifi es the exact place of events, complements the missing verbal commentary, allowing the stage area to look massive and versatile. As a result, the ideological concept of M. Marelli appears in the interdependence of the internal and external planes; their content is determined by his understanding and vision of the opera “here and now”, that is, as a single musical and theatrical piece. The internal plane is directly connected with the events of the fairy-tale plot, interpreted by the stage director’s individual consciousness. The external one forms the design of the performance through the variety of static and mobile forms, transformed according to the sequence of light effects, and the silent video by A. Kitzig, which gives a slight expressionistic taste. M. Marelli’s intellectual and emotional immersion in the “history” of the opera contributed to the formation of a symbolic by-plot through two fi gures: Puccini and Calaf (a character of the opera). It is played on a small platform at the bottom of the main stage, depicting the “blue room” (O. Schmitt), where you can see the instrument with the scores on the music stand, a table with a jewel-box on it, an armchair, and a bed. The man that appears clearly personifi es the composer, who “looks for” music ideas. As the events are unfolding, Calaf appears in the “room”; he is tormented by the desire to melt the cold heart of Turandot and feverishly looking for a way out of this situation. The novelty of interpreting a well-known fairy-tale plot lies in a fundamentally different motivation for the behavior of Turandot. She identifi es herself with Lou-Ling, who was tortured and murdered by a man long ago, so Turandot is driven by a thirst for revenge. The story about the cry of the miserable princess Turandot, which she constantly hears inside of her, looks differently as if she becomes one with her distant ancestor. By the end of the story, she appears as in a cocoon shell, unattainable and invincible. This is followed by a scene of puzzles that move events to a turning point in the plot twists and turns and mark a kind of a going-back fl ow of time. The director increases of effect of the symbolic line in the performance by adding the silent video by A. Kitzig. The parallel dynamics of the stage action and the metamorphosis of the masks visualizes the psychological component of Puccini’s opera. The whole set of plot and scenery means exists only with the purpose of revealing this psychological component. As a result, the scene of the test Calaf must pass acquires a different dimension, delineating the fate twists of both heroes. Again and again, the pieces of clothes fall down from Turandot like scales of a snake. This is accompanied by the transformation of the previously unfi red face of the mask, which ultimately cracks like a clay cast and fi nally collapses. The heroine remains in a thin silky dress shirt and tries to cover her bare shoulders with her hands. Her nakedness is akin to defenselessness, the loss of solid ground under your feet. This way, M. Marelli resolved not only the problem of the impossibility to show a psychological degeneration of personality on the huge stage by traditional acting techniques, but also contradictions of plot twists that haunted the composer. Conclusions. The experience of the Bregenz version shows that an important role played by the conditions of the stage space, which was used by a talented stage director and designer as a component of the multi-level system, where everything goes with accordance to the hierarchical subordination of the play. This seems to be the masterful combination of M. Marelli’s personal artistic and aesthetic philosophy, the features of the last opera by J. Puccini and all theatrical resources of a unique theatrical scene of the Lake Constance.
29
Tusa, Michael C. "The Unknown Florestan: The 1805 Version of "In des Lebens Frühlingstagen"." Journal of the American Musicological Society 46, no. 2 (1993): 175–220. http://dx.doi.org/10.2307/831965.
Full textAbstract:
Our understanding of Beethoven's initial effort in opera, the 1805 version of Fidelio, is significantly clouded by certain difficulties in establishing its text. An especially obscure point is Florestan's aria at the beginning of the third act. Simply put, no surviving source transmits the aria as it was performed in 1805. In order to publish a complete, performable text for the opera, the editors of the Ur-Leonore, Erich Prieger and Willy Hess, present the aria in a version that conflates 1805 and 1806 sources. To shed some light on the lost 1805 version of the aria and on Beethoven's understanding of the piece, the present paper turns to the so-called Leonore sketchbook of 1804-5. The latest stages of 1805 sketches reveal a version that comprises three sections corresponding to basic shifts of perspective in the poem: an Adagio in A♭ major for Florestan's reflections on the meaning of his suffering; a Moderato in F major for the remembrance of his life with Leonore; and an Andante in F minor for his stoic advice to the distant beloved. Was this three-tempo version in fact performed at the premiere? This question cannot be answered definitively, but various bits of evidence, including the overture of 1805, sources for the 1806 revision, and the testimony of the tenor who sang the part of Florestan in 1806, suggest that the version performed in 1805 may have approximated the three-tempo version in the Leonore sketchbook. Further, the sources for the 1806 version suggest that the limitations of the tenor who sang the role of Florestan in 1805 lay behind a number of revisions.
30
Peritz, Jessica Gabriel. "Orpheus's Civilising Song, or, the Politics of Voice in Late Enlightenment Italy." Cambridge Opera Journal 31, no. 2-3 (2019): 129–52. http://dx.doi.org/10.1017/s0954586719000168.
Full textAbstract:
AbstractThis article explores new conceptions of voice in late eighteenth-century Italy as expressed in discourses connected with opera reform. Inspired by the convergence of Enlightenment epistemologies of feeling and neoclassical aesthetics, certain progressive singers and literati sought to rebrand the singing voice as an agent of moral and political edification. Here, this ideology-laden project is traced through two conflicting representations of singer-poets, both of whom wield the power of lyric song to achieve political ends. First, the article unpacks Giuseppe Millico's narrative of his performance as Gluck's Orfeo (published in Naples in 1782), in which the singer argues for voice as audible interiority and, as such, a warrant of political subjectivity. It then turns to a reading of Gastone della Torre di Rezzonico's libretto for Giuseppe Sarti's dramma per musica Alessandro e Timoteo (Parma, 1782), in which voice transforms into an instrument of anti-absolutist critique. The article concludes by considering how these two modes of voice were imagined, together, as capable of revivifying Italian culture.
31
Osmond-Smith, David. "Nella festa tutto? Structure and dramaturgy in Luciano Berio's La vera storia." Cambridge Opera Journal 9, no. 3 (1997): 281–94. http://dx.doi.org/10.1017/s0954586700004833.
Full textAbstract:
Stories, whether true or calculatedly false, have played at best an ancillary role in the evolution of Berio's approach to musical theatre. Indeed, to find a straightforward example of story-telling in his output, one would have to go back some twenty years from La vera storia to his previous collaboration with Italo Calvino, Allez Hop (1959), an ironic parable narrated in mime. But as soon as subsequent commissions offered Berio the resources of the human voice, he turned away from the seductions of a central narrative core, and instead built his vision of the potential of musical theatre around a more allusive and multi-layered conception. Narratives are still skeletally present – for instance, in Passaggio (1962), which employs the barest outlines of a scenario, spelt out explicidy only at the end, as a frame on which to hang a complex web of poetic and theatrical imagery, or indeed Opera (1970), with its intertwining myths of the ancient and modern worlds evoked through concentrated imagery, but not acted out. But the narrative twists and turns that are the chief pleasure of the story-teller – and the chief impetus behind the lyric outbursts of the operatic tradition – were no longer his concern.
32
Dodds, Michael R. "Plainchant at Florence's Cathedral in the Late Seicento: Matteo Coferati and Shifting Concepts of Tonal Space." Journal of Musicology 20, no. 4 (2003): 526–55. http://dx.doi.org/10.1525/jm.2003.20.4.526.
Full textAbstract:
While accounts of modal change in Baroque music have often focused on progressive genres such as opera, more conservative repertories may also reveal important shifts in the conceptualization of tonal space. The presence of "new" elements in a conservative context can provide an index of how deeply new ways of thinking have penetrated. For this reason, the plainchant treatises of Matteo Coferati (1638- 1708), a singer and chaplain at Florence cathedral for nearly 45 years, merit special scrutiny. Coferati's unprecedentedly detailed instructions on the use of unwritten sharps in plainchant present new solutions to old problems while implicitly reflecting the influence of polyphony in general and the alternating organ in particular. The relationship between plainchant and polyphony thus emerges as a reciprocal one. Moreover, the distance between monophonic and polyphonic modal norms turns out to be less than one might conclude by examining notated chants without considering unwritten performance practices. That Coferati's teachings represent practice at the Florence duomo is supported by a contemporaneous manuscript choir book from the cathedral's archives, containing the very sharps he advocates. In addition, new archival findings revise Coferati's long-accepted birth and death dates and provide specific information about his service as a cappellano of Florence's cathedral.
33
LAW, HEDY. "‘Tout, dans ses charmes, est dangereux’: music, gesture and the dangers of French pantomime, 1748–1775." Cambridge Opera Journal 20, no. 3 (2008): 241–68. http://dx.doi.org/10.1017/s0954586709990073.
Full textAbstract:
AbstractIn 1779 Chabanon noted the potential danger inherent in gesture because it might produce instantaneous and harmful effects. This article examines how Rameau, Rousseau and Grétry incorporated putatively dangerous gestures into the pantomimes they wrote for their operas, and explains why these pantomimes matter at all. In Rameau's Pygmalion (1748), Rousseau's Le Devin du village (1752–3) and Grétry's Céphale et Procris (1773, 1775), pantomime was presented as a type of dance opposite to the conventional social dance. But the significance of this binary opposition changed drastically around 1750, in response to Rousseau's own moral philosophy developed most notably in the First Discourse (1750). Whereas the pantomimes in Rameau's Pygmalion dismiss peasants as uncultured, it is high culture that becomes the source of corruption in the pantomime of Rousseau's Le Devin du village, where uncultured peasants are praised for their morality. Grétry extended Rousseau's moral claim in the pantomime of Céphale et Procris by commending an uneducated girl who turns down sexual advances from a courtier. Central to these pantomimes are the ways in which musical syntax correlates with drama. Contrary to the predictable syntax in most social dances, these pantomimes bring to the surface syntactical anomalies that may be taken to represent moral licence: an unexpected pause, a jarring diminished-seventh chord, and a phrase in a minuet with odd-number bars communicate danger. Although social dances were still the backbone of most French operas, pantomime provided an experimental interface by which composers contested the meanings of expressive topoi; it thus emerged as a vehicle for progressive social thinking.
34
Weitz, Shaena B. "Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale." 19th-Century Music 43, no. 1 (2019): 38–60. http://dx.doi.org/10.1525/ncm.2019.43.1.38.
Full textAbstract:
In the mid-1830s, Henri Herz (1803–88) was an internationally renowned pianist, but his reputation today, for the most part, is that of a second-rate musician who wrote trivial variations on opera themes. This enduring picture of Herz was painted first in France in 1834 by the Gazette musicale. The Gazette’s campaign has been understood by modern scholars as a conspicuous moment in a broad aesthetic shift away from French salon music and toward high German Romanticism, and the Gazette has garnered praise for its prescience. But a closer examination of the Gazette’s articles, the events surrounding the coverage such as a pistol duel and a libel case, contemporary correspondence, and Herz’s publishing record indicate that the Gazette’s negative treatment of Herz was not an organic assessment of his output, but rather a revenge scheme orchestrated by the Gazette’s owner and Herz’s former publisher, Maurice Schlesinger (1798–1871). As a case study, the Gazette’s Herz campaign exposes the endemic corruption of the nineteenth-century press that has been portrayed as an unseemly rarity rather than a central component of historical criticism’s production. But taken more broadly, the Gazette’s articles on Herz highlight limitations in the history of reception. This article turns to media studies to explore the problematic relationship between propaganda and reception and shows how the Gazette, and other nineteenth-century journals, are still manipulating our cognition.
35
Panasiuk, Valerii. "«La Traviata» remastered. G. Verdi’s opera in the stage interpretation by V. Nemirovich-Danchenko." Aspects of Historical Musicology 21, no. 21 (2020): 63–82. http://dx.doi.org/10.34064/khnum2-21.04.
Full textAbstract:
The historical evidence of the XX – the beginning of the ХХІ century musical theatre proves that the drastic interpretation as “a coherent artistic project” can include creating a new text for a libretto, which is aligned to fundamentally important provisions of the director’s concept. It was true for G. Verdі’s “LaTraviata” theatrical performance implemented on the stage of the State Musical Theatre named after People’s Artist of the Republic V. Nemirovich-Danchenko (1934). Due to their provocative approach and radicalism of breaking with wellestablished traditions the ideas of the stage producers (directors, a conductor, an artist and a librettist) are in tune with the guidelines of the modern interpreters of opera classic. Consequently, that far away experience becomes relevant nowadays. Considering it, one can enable solve certain problems in condition when the new ideological principles and innovative art directions are spread. There is an urgent necessity to define the principles of coping with a libretto as an integral part of a holistic director’s vision on the example of “LaTraviata” staging implemented by V. Nemirovich-Danchenko (1858–1943), who was one of the most prominent reformers of both drama and musical theatres in the XX century. So, the aim of this article is to analyze the libretto for the opera “La Traviata” by G. Verdi created by V. Inber using the research approaches of theater studies and literary theory and to define the principles of working with the verbal text as with the part of a holistic director’s conception implemented by V. Nemirovich-Danchenko. The results of the research. Taking into account the guiding directions of the Soviet ideology, the producers obviously over accentuate the social component of the conflict. As a result, “the scenic situation is exacerbated” and consequently “Violetta’s social characteristics” are adjusted; being originally a demimondaine, the main heroine turns into an opera singer, whose tragedy makes the class conflict obvious. The total redefining of the conflict, transferring the place of the action (Venice) and the time (the 1870s), and characters’ social tagging enables implementing another fundamentally important provision – an aesthetic one. The visual identity of the 1870s is strongly associated with the impressionists’ images, Venice is identified with a carnival and relevant artistic attributes (the third act of the play). Focusing on the certain “painting archetype of the epoch”, the set designer (P. Williams) created the suitably matched environment for scenic playing. The innovative approach provided by the director’s concept is implemented within the libretto text by means of updating the stage narrative itself. The author of the libretto, Vera Inber (1890–1972) does not emphasize the opera singer’s destiny, but pays attention to the main character’s relations with the bourgeois society. The latter observes the lifetime conflicts development of one of the artistic bohemia’s representatives with a great deal of interest, but without any compassion. That fact justifies using the new scene – the stage, which enables applying the principle “a theatre within a theatre” (also in the sphere of the artistic design). This approach is naturally combined with the use of the “heraldic construction” in V. Inber’s libretto. In the process of realizing the stage narrative, a separate plot situation is repeated in a small-scale version. The mindset to double and complicate the narrative is carried out in the libretto. Due to that fact, a new conflict (social in its origin and provided by the authors of the director’s vision) development is enabled. The relevant literary allusions in poetical text (although obviously shallow) are set to create a meaningful artistic prospect. In the turning points, the storylines development in V. Inber’s libretto coincides with F. М. Piave’s libretto drama collisions: happy lovers; their happiness, destroyed by Alfred’s father; having an argument and the heroine’s death. The key distinction of a new version is the refusal to use Violetta’s disease as the character’s feature and the plot component, which determines the tragic ending. That is why the fourth act becomes fundamentally different, unlike the original one. Being ignored by the bourgeois environment, Violetta secludes herself from the society and abandons her successful career. The singer informs her coactors (who appear on the stage later) about that fact in the letter. Implementing the principle “a theatre within a theatre” consistently, V. Inber treats the entire final set (especially the heroine’s death) as the last scene of the theatrical performance. Thus, the inevitability of the tragic resolution of the conflict between the artistic personality and the bourgeois society is proved. It facilitates realizing dramatically vital guidelines of a director’s general vision, which becomes determinant in the process of staging G. Verdі’s masterpiece. Conclusions. The practice of rewriting librettos in the first decades of XXI century acquires a new relevance. First, creating a new libretto resolves all the disagreements between a conception of the production team and the original verbal text nowadays. Mostly those contradictions emerge in the process of changing the locality, in which the action proceeds and the time of the plot. Secondly, one of the most burning problems of the ХХІ century musical theatre, concerning the performance language choice, is resolved. Performing an opera using the audience’s native language promotes full-fledged communication between the actors and the spectators. Thirdly, the necessity for rewriting librettos supposes involving the prominent masters of the word, especially poets. Thus the effective dialogue between different national cultures is put into practice and the active circulation of the previous centuries classic (including the opera one) in the socio-cultural sphere is insured.
36
Dantas, Eugênia Maria, and Ione Rodrigues Diniz Morais. "GEOGRAFIA: ENTRE O SENSÍVEL E O CIENTÍFICO, UM CONHECIMENTO COMPLEXO." GEOgraphia 20, no. 44 (2018): 51. http://dx.doi.org/10.22409/geographia2018.v1i44.a14163.
Full textAbstract:
A Geografia, como conhecimento, instaura-se a partir de diferentes estratégias. O olhar se configura uma matriz que favorece a condução do sujeito no e pelo espaço, seja no âmbito de uma experiência espacial, em que o sujeito produz referências interpretativas, seja no contexto de uma produção científica em que o direcionamento se volta para explicar a dinâmica espacial. Este artigo apresenta a Geografia como um conhecimento estruturante da condição de ser e de viver. Dessa condição, deriva a sua concretização simultaneamente científica e sensível, que opera a partir de estratégias de religação na produção complexa e estruturante de uma “inteligência espacial” que é concomitantemente uma “inteligência para a complexidade”. Palavras-chave: Geografia. Conhecimento. Complexidade. GEOGRAPHY: BETWEEN THE SENSIBLE AND THE SCIENTIFIC, A COMPLEX KNOWLEDGE Abstract: Geography, as knowledge, is established from different strategies. The look is configured as a matrix that favors the conduct of the subject in and through the space, both in the scope of a spatial experience, in which the subject produces interpretative references, or in the context of a scientific production that the direction turns to explain the spatial dynamics. This article presents the Geography as a structuring knowledge of the condition of being and living. Of this condition, derives its achievement simultaneously scientific and sensitive, which operates from reconnection strategies in complex structuring production of a “spatial intelligence” that is also an “intelligence to the complexity”. Keywords: Geography. Knowledge. Complexity. GEOGRAFÍA: ENTRE LO SENSIBLE Y LO CIENTÍFICO, UN CONOCIMIENTO COMPLEJO Resumen: La Geografía, como conocimiento, se instaura a partir de diferentes estrategias. La mirada se configura como una matriz que favorece la conducción del sujeto en y por el espacio, sea en el ámbito de una experiencia espacial, en la que el sujeto produce referencias interpretativas, sea en el contexto de una producción científica en la que el direccionamiento se orienta hacia la explicación de la dinámica espacial. En este artículo se presenta a la Geografía como un conocimiento estructurante de la condición de ser y de vivir. A partir de esa condición, deriva su concretización simultáneamente científica y sensible, que opera a partir de estrategias de religación en la producción compleja y estructurante de una “inteligencia espacial” que es concomitantemente una “inteligencia para la complejidad” Palabras clave: Geografía. Conocimiento. Complejidad.
37
Harrán, Don. "A Jewish Female Cannibal in Two Seventeenth-Century Cantatas." Journal of Musicology 31, no. 4 (2014): 431–70. http://dx.doi.org/10.1525/jm.2014.31.4.431.
Full textAbstract:
Laments were frequent in both cantatas and operas in the seventeenth century. The two emotions expressed in the lament were those that Aristotle connected with the essence of tragedy, namely, pity (on the fate of the one who laments) and fear (lest the observer share the same fate). Fear turns to fright in two mid-seventeenth century cantatas, in which a Jewish mother cooks her son, eats his flesh, and licks his blood in order to relieve her hunger, then bemoans her act in a lament. The present study describes examples of laments and female cannibals in Scriptures, identifies the particular female cannibal of the cantatas as Mary of Eleazar in Flavius Josephus’s The Jewish War, discusses the authors of the text and the composers of the cantatas, concluding with the relationship of the texts to the music. Following Aristotle’s notions of pity and fear, authors and composers maneuver between the contrary feelings of pathos and disgust in the cantatas. The full text of both cantatas appears in the appendix.
38
NOWAK, Łukasz, and Wojciech TUTAK. "Combustion stability of dual fuel engine powered by diesel-ethanol fuels." Combustion Engines 178, no. 3 (2019): 155–61. http://dx.doi.org/10.19206/ce-2019-327.
Full textAbstract:
The paper presents result of combustion stability assessment of dual fuel engine. The authors analyzed results of co-combustion of diesel fuel with alcohol in terms of combustion stability. The comparative analysis of both the operational parameters of the engine and the IMEP, as the parameters determining the stability of the combustion process, were carried out. It was analyzed, among others values of the COVIMEP coefficient, the spread of the maximum pressure value, the angle of the position of maximum pressure and the probability density distribution of the IMEP. The experimental investigation was conducted on 1-cylinder air cooled compression ignition engine. The test engine operated with constant rpm equal to 1500 rpm and constant angle of start of diesel fuel injection. The engine was operat-ed with ethanol up to 50% of its energy fraction. The influence of ethanol on ignition delay time spread and end of combustion process was evaluated. It turns out that the share of ethanol does not adversely affect the stability of ignition..
39
Tunbridge, Laura. "Thoroughly Modern Middles." Cambridge Opera Journal 31, no. 1 (2019): 118–28. http://dx.doi.org/10.1017/s0954586719000193.
Full textAbstract:
Young Millie Dilmount arrives in New York City during the jazz age, shingles her hair and looks for a job with a rich, handsome boss she can marry. The musical-film Thoroughly Modern Millie (dir. George Roy Hill, Universal, 1967) may have been a spoof of the 1920s but various twists and turns in its plot nonetheless reveal its middlebrow scaffolding. Social aspiration is written into the plot, as is the ambiguity of its signifiers: although Millie (Julie Andrews) falls for the penniless Jimmy Smith (James Fox), she sets her sights on the seemingly more appropriate Trevor Graydon (John Gavin) only to discover that, of course, Jimmy was a millionaire all along. This is a narrative as much about cultural and social as financial capital. Through its ‘second-order parody’ of racial, ethnic and gender stereotypes, Angelo Pao argues, Thoroughly Modern Millie – along with other American musicals – ‘has played a significant role in the formation of a national persona’. The middlebrow, though, is not necessarily about identity politics, storylines or style; it is also closely bound with modes of dissemination and their relative costs and, because of that, with questions of class. Indeed, the Broadway musical was (and continues to be) a mainly middle-class affair, from its makers to its consumers, who David Savran points out have long needed ‘a good deal of disposable income’, given that ticket prices have always outstripped cinema, spoken theatre – and, on occasion, opera.
40
Bloomfield, Terry. "Resisting songs: negative dialectics in pop." Popular Music 12, no. 1 (1993): 13–31. http://dx.doi.org/10.1017/s0261143000005328.
Full textAbstract:
But there isn't Al. If Al were there he would be giving a private performance to Chris Roberts as patron: an odd conception in the present-day world. In fact Al Green sings in a domain that is public although the musical commodity of the disc or tape turns it into a potentially solitary experience. In his comment Roberts has been captured by the Romantic understanding of the song: that its essence is (artistic) interiority made exterior. He is not alone in his fantasy of access to the pop singer. It constitutes the prevailing, if unformulated, view – a considerable irony in the postmodern world of late capitalism. The past few decades have witnessed the development of a global light-entertainment industry whose cultural objects partake in an increasingly closed circle of signification through pop videos, television advertising, soap operas and the tabloids. This (hyper)reality coexists today with the pursuit of the ever more soulful vocal, as if in a doomed attempt to crack open the reified commodity, by dint of the singer's passion to force something human across the gulf between exchange value and use value.
41
Bečica, Jiří. "Income Self-Sufficiency and Profitability of Professional Theatres in the Czech Republic." Review of Economic Perspectives 18, no. 3 (2018): 285–99. http://dx.doi.org/10.2478/revecp-2018-0014.
Full textAbstract:
Abstract The paper assesses the professional theatres operating under the Association of Professional Theatres in the Czech Republic in the period 2011-2015 using the financial analysis, particularly the profitability indicator ratio (ROA, ROCE, ROE, ROS) and the rate of income self-sufficiency. The reason for this economic exploration of theatres is in the fact that the service they provide fall under collectively provided public goods (a common feature of most cultural institutions), and that the market is not able to effectively secure these goods on the profit principle. The J. K. Tyl Theatre in Pilsen, the Drak Theatre in Hradec Králové and the Moravian Slovakia Theatre in Uherské Hradiště have reported the best results of profitability indicators. Whereas the worst results in profitability have been reported for the North Bohemian Theatre of Opera and Ballet in Ústí nad Labem, the Antonín Dvořák Theatre in Příbram and the South Bohemian Theatre in České Budějovice. The rate of income self-sufficiency within 2011-2015 ranges from 12-55% of the total budget volume, and volume and shows a strong dependency of professional theatres on foreign resources, particularly from public resources of the local levels of the government being the most common funder of these cultural institutions. It turns out that, from the economic point of view, it is illogical to transform non-profit contributory organizations in culture with a public funder into a different legal form when the purpose of the establishment and the funder remain preserved. Better results are generally obtained from single-genre theatres and, in terms of the auditorium size, smaller theatres focusing on drama or children's production.
42
Mitchell, Robert J. "Reconstructing a fragmentary Gloria." Plainsong and Medieval Music 4, no. 2 (1995): 149–84. http://dx.doi.org/10.1017/s0961137100000966.
Full textAbstract:
The idea of reconstructing fragmentary polyphony has not really found a niche in mid-fifteenth-century studies. Whilst editors of Baroque music have become quite used to reconstructing string parts to ‘arie con tre violini’ in skeletal opera sources, and whilst sixteenth-century specialists have occasionally been brave enough to recompose the contents of a lost partbook, this sort of treatment has rarely been applied to fragmentary works of the Dufay and Ockeghem periods. There seem to be two reasons for this. Firstly, since many of the essentials of mid-fifteenth-century style are not based on imitative techniques or the realization of simple chord progressions, the random nature of what an incomplete piece of the period might contain can make plausible reconstruction very difficult. Even the most predictable-looking of complete mid-fifteenth-century works often have surprising rhythmic turns or unexpected progressions, simply because variety was an expected and prized aspect of the mastery of sophisticated polyphony as it was then understood. Secondly, even if an editor achieves what he considers to be a satisfactory reconstruction of such a work, there are few cases of such reconstructions in which there is an overall conjecture rate of less than 20 per cent. Nevertheless, there are exceptions to all generalizations and on the present occasion I believe I have found a movement from a fragmentary cyclic Mass that can be reconstructed with comparatively little conjectural material: the Gloria from the Missa Salve Regina in Munich 3154. This article describes how I became interested in the cycle and suggests how the missing material in its Gloria can be effectively realized.
43
Erkens, Richard. "Grauzone Privatarchiv." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 100, no. 1 (2020): 94–113. http://dx.doi.org/10.1515/qufiab-2020-0009.
Full textAbstract:
AbstractAs Frédéric Döhl recently noted in his article „Potential und Risiken des Archival Turns in den Digital Humanities für die Musikwissenschaft“ (in: „Archiv für Musikwissenschaft“ 75,4 [2018], pp. 301–320), the hierarchy of accessibility among sources shifts perceptibly during digitalization, and musicology and archives ultimately become something like a dual form of music historiography. This paper tries to argue that the limited accessibility of private archives can be regarded as a parallel phenomenon to the digital multiplication of already known sources, while non-digitized sources increasingly disappear from focus. To avoid unintended consequences that hinder research attempting to open up new sources, it is necessary to find feasible paths to a fruitful handling of such archives at the intersection of the public and private interest. The limitations of temporary research projects in particular complicate the options for exploitation, as the grey area of private archives offers the services of public archives only to a very limited extent. Here, the researcher is often not a user but a supplicant. Considering some of the main problems regarding persisting inaccessibility, reduced opening hours and dealing with archive catalogues (when they exist), this article attempts to determine the potential for a restricted, though fruitful, use of undiscovered sources during ongoing research in which the exploitation of a private archive with an abundance of material is just part of a research project and not its main focus. The discussion is enriched with personal experiences, with two examples from Venice and Florence. These empirical insights were obtained during research on the production mechanisms of Italian opera in the first half of the 18th Century, but could be extended to other interdisciplinary projects that tackle an extensive corpus of heterogeneous sources.
44
Fillerup, Jessie. "Ravel and Robert-Houdin, Magicians." 19th-Century Music 37, no. 2 (2013): 130–58. http://dx.doi.org/10.1525/ncm.2013.37.2.130.
Full textAbstract:
Abstract When Claude Debussy called Ravel an “enchanting fakir” in 1907, he anticipated a critical approach typified by Vladimir Jankélévitch's 1939 Ravel biography. In it, Jankélévitch evoked the rich language of theatrical magic, comparing Ravel to a sorcerer, conjurer, and illusionist. Contemporary critics used similar terms to describe the composer's music as early as 1909, around the same time that a parallel narrative emerged: Ravel as a master of mechanism and artifice. A contextual study of theatrical magic, which has yet to be applied to Ravel criticism, provides a substantive connection between these narratives of mechanism, enchantment, and artifice. I begin with the French illusionist Robert-Houdin (1805–71), whose enduring legacy furnishes a forgotten background for Ravel criticism. Robert-Houdin claimed that he was not a mere juggler but “an actor playing the part of a magician,” which resonates with accounts of Ravel's Baudelairean artifice in life and work. For magicians, “illusion” was interchangeable with “effect.” The word “effect” recurs in both Ravel's writings and “The Philosophy of Composition,” a theoretical-didactic essay by Edgar Allan Poe, whom Ravel cited as one of his most important artistic influences. Ravel's appreciation of Poe has a much richer grain than has been imagined, extending beyond compositional artisanship to include literary and theatrical stratagems. Robert-Houdin, who started his career as a clockmaker, featured automata at his Soiréé fantastiques—but sometimes, like von Kempelen's Turk, these automata were illusions themselves. Ravel's fascinations with enchantment and mechanism converge in the presence of these trick machines. In the opera L'Enfant et les sortilèges (1925), Ravel uses techniques known to both magicians and cognitive neuroscientists, exploiting the aural equivalent of an afterimage and manipulating the spectator's attentional frames.
45
Liu, Jian. "Stage text of the musical «Next to normal» in Michael Grief’s production." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 212–27. http://dx.doi.org/10.34064/khnum1-57.13.
Full textAbstract:
Theoretical Background. The concept of stage text is actualized in musical science in the context of a variety of samples of director’s theater, in which the stage decision may dissonant or act as a counterpoint to the original musical (ie compositional) text of the work. Sometimes the musical score is only the starting point for the director’s version. T. Grigoryants (2007), M. Kosilkin (2017), M. Kuklinska (2018; 2020) turn to the analysis of the stage text. Among the parameters that M. Kosilkin draws attention to are psychological types (2017: 85), which are embodied through facial expressions and gestures, plasticity and movements, the appearance of the character; and a set of pictorial means – costumes, objects and decorations. Unlike traditional opera, the director of a Broadway musical of the XXI century (especially on modern plots), as a rule, does not face the problem of modernization of stage means or compliance of the stage solution with the expectations and inertia of the audience. However, within this genre it is important to understand what aesthetic tasks are solved by this or that production and what happens in the dynamics of the stage life of the musical, whether the elements of the stage text are written in the score, or, conversely, the director is required to find a solution. Objectives. The aim is to identify the features of the stage text of the musical «Next to normal» – its main components and functions in relation to the musical score. In accordance with the purpose, such methods are used as comparative (to compare the composer’s and stage texts), structural and functional (to identify individual elements of the stage text and their role in revealing the plot and dramaturgy of the whole). Results and Discussion. Unlike directorial experimentalism in the field of opera, where the score may lose “its leading role, giving way to the leadership of a musical performance” (Kuklinskaya, 2020), the Broadway musical «Next to normal» illustrates the unity of the composer and director who seek to be understood by the public. Last but not least, this is due to the fact that some elements of the plot are so cinematic that they seem to be inaccessible for the implementation of purely musical and stage means. Thus, the stage realization of the image of a ghost, various «flashbacks» (№ 5), the delimitation of frames of parallel action (№ 16), the release of Diana’s consciousness during ECT (№ 18) is extremely difficult. However, the director manages to do it with minimal means, without involving special effects. Among the most important tools for creating stage text are: ● two-level stage with different sectors allows to implement fast spacetime switching while maintaining the dynamics of action and embody the idea of parallel action, a combination of real and imaginaryevents; ● the light – directed to the relevant sector of the scene, emphasizes a particular character or pair of characters, focusing the teacher’s attention on a particular plane of action; another approach – even illumination of different sectors of the scene, aimed at; ● concise props (sandwiches, trash can, candle cake, photo, box) – brings to the surface hidden subtexts and reveals the psychological characteristics of the characters hidden in the musical text, ie performs the function of objectification, specification of certain events; ● gestures – turns of the head and body of the characters indicate their «relationship» with the ghost. Since for Diana he is real, so she always turns to him. The other characters behave as if Gabe is not on the stage, and only at turning points do they begin to see him (Dan in № 37); the idea of flashback (Diana’s memories of her marriage to Dan) – is realized through a gesture – a woman reaches out to hug her husband, but catches the emptiness; ● stage action of the characters and mise-en-scène – excessive gestures and strange movements make Diana go crazy; dance and choreographic elements (Dr. Madden, Diana and Gabe), skating on the operating table (Gabe, doctors) highlight the unreal elements of the plot; the main character’s hugs with Gabe illustrate her choice in favor of a ghostly world over the real one (her husband, Dan); ● scenery – demonstratively minimalistic – it consists of key objects – the dining table symbolizes the Goodman family home, the operating room – the hospital, a comfortable chair – psychotherapy sessions; ● costumes – deserve the least attention of the directors, as the household plot focuses on everyday clothes (jeans, sweater, shirt, etc.); against this background, the dance of Gabe and Diana stands out, where they are both in white (№ 4), which gives the action a hidden subtext; white can also be seen as a symbol of madness (Diana’s shirt in the hospital). Conclusions.In terms of musical content, the production deepens the tragedy of Diana’s image, which is that she chooses a ghostly man instead of a real one. And the relationship between her and her dead son in the stage decision goes beyond the roles of «mother – son» – as evidenced by their dance, kissing hands, hugs, which allow us to consider them as a romantic couple of characters, which in the musical text of the opera is only a hint. Thus, the stage text of the musical «Next to normal» is aimed at concretizing the musical content, working with simple symbols that will be understandable to the public, and on the other– to deepen the content and multifaceted disclosure of the ghost world, hallucinations, mental disorders and madness.
46
Tulyakova, Anastasia A. "Leo Tolstoy, Mikhail Artsybashev, and Richard Wagner: About One Case of Polemics in Tolstoy’s The Circle of Reading." Slovene 6, no. 2 (2017): 444–55. http://dx.doi.org/10.31168/2305-6754.2017.6.2.18.
Full textAbstract:
The article deals with a case from the creative history of Leo Tolstoy’s The Circle of Reading (1908), when Tolstoy included the revised story of Guy de Maupassant’s Le Port under the title “Sisters” in the second edition of the book. The author proves that the reason for Tolstoy’s decision was his polemic with “saninstvo” as one of the most fashionable ethical trends of the first decade of the 1900s. The key component of Sanin’s behavior and hedonistic philosophy in Mikhail Artsybashev’s novel was incest. Maupassant’s novella is based on the same plot. On the basis of Tolstoy’s nonfictional texts of the 1890s, including the treatise What Is Art? (1898), the article reconstructs the writer’s view on the forms and boundaries of the representation of incest in Richard Wagner’s operas and in Friedrich Nietzsche’s philosophy, with which Tolstoy also polemicized and in connection with which he stated the ethical potential of art and its permissiveness. From this perspective, Tolstoy’s reaction to Artsybashev’s novel, combining the motives of incest and extreme individualism, turns out to be a new phase of the old dispute. Tolstoy included the story “Sisters” in the second edition of The Circle of Reading as a response to the philosophy of “saninstvo.” Thus, Tolstoy’s collection of wise thoughts can be considered not only as didactic, but also as a polemical text, and deeply rooted in the ideological context of the 1890s‒1900s.
47
Nagy, Dániel. "Velázquez, Wagner and the Red Skull. Intermediality and the Genesis of Meaning in a Particular Scene of Captain America: The First Avenger." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (2021): 117–31. http://dx.doi.org/10.2478/ausfm-2021-0008.
Full textAbstract:
Abstract In the 2011 superhero movie, Captain America: The First Avenger (produced by Marvel Studios, directed by Joe Johnston) the main opponent of the title character is a Nazi officer, Johann Schmidt, who turns out to be a kind of superhuman entity, the Red Skull. Throughout the movie, viewers can follow the process of him gradually leaving behind his identity as a Nazi officer, and presenting himself as the leader of the occult-high-tech terrorist organization, the Hydra. At a certain point we can see him visited by one of the scientists working for him, Doctor Zola, whom he puts wise to his plans. During the conversation a portrait is being painted of the Red Skull, but we cannot see his face, only that the artist uses a huge amount of red paint. In the background, excerpts of Wagner’s operas are being played, which is very unusual in a Marvel movie. The question is, should the viewer recognize the diegetic music and notice the possible reference to the painting Las Meninas by Velázquez? How the detection of these intermedial references and the awareness of the act of trespassing media borders would affect the semiotic processes of interpretation? And also, how would the more precise identification of the cited materials change the semiotic modality of intermediality here? The article tries to answer these questions by interpreting the scene and the role of the references in question within the entire film through the prism of intermedial semiotics.
48
Skjoldager-Nielsen, Kim, and Daria Skjoldager-Nielsen. "Para-Anthropo(s)cene Aesthetics Between Despair and Beauty." Nordic Theatre Studies 32, no. 1 (2020): 44–65. http://dx.doi.org/10.7146/nts.v32i1.120407.
Full textAbstract:
The Anthropocene is gaining recognition as an epoch in Earth’s history in which mankind is changing the environment and the biosphere (Steffen et.al. 2011). Hotel Pro Forma’s visual opera NeoArctic (2016) and Yggdrasil Dance’s dance meditation Siku Aapoq/ Melting Ice (2015) explore how to aesthetically shape the ecological impact on human existence. The article discusses the performances’ impact on potential responses to the climate crisis.
 In NeoArctic, human activities have caused “overflow feedback”: a constant flow of digital vistas of pollution, raging weather, temperature rises alternate with the planet’s eternal processes, while underscored by ambience and operatic electro-pop. The images are front-projected onto the stage backdrop to create a literal overflow of the steadfast choir-performers, in which they almost disappear or become ghostly shadows, implying their imminent demise or insignificance on a planetary scale.
 Siku Aapoq engages with Greenland’s melting icecap: two dancers, Norwegian and Inuit, interact with a fabric understood as the melting ice, while enveloped in evocative lights, the crackling of glaciers, Inuit chants, ambience, and jazz. The Norwegian and the Inuit take turns enacting the ice, suggesting the interconnectedness with nature of both cultures.
 Both performances seem to invite acceptance of inevitable disaster. Yet, human prevalence is implied in the stagings by convergence of past and future in the present, which suggests that the future is still undecided, and survival depends on an ability to respond to the materiality of the environment that we are already entangled in through a profound sense of beauty.
 Theoretically, the analyses mainly draw on agential realism (Karen Barad) in order to outline a “para-Anthropo(s)cene aesthetics” that may reach beyond the human and engage spectators in realizing their ethical entanglement and the call for climate action. Considering intentions and reception, and the dystopian nature of the performances, the responses to climate change that the aesthetics may instigate are discussed.
49
Stange, Ulrike. "“Holding Grudges Is So Last Century”: The Use of GenX So as a Modifier of Noun Phrases." Journal of English Linguistics 48, no. 2 (2020): 107–36. http://dx.doi.org/10.1177/0075424220911070.
Full textAbstract:
This article focuses on the X is so NP-construction in American English, as exemplified by “Holding grudges is so last century” (SOAP, As the World Turns, 2002). Drawing on the Corpus of American Soap Operas (Davies 2011-), the aim of this study is to provide an account of the distributional pattern of noun phrase modification with so, including preferences in modified noun phrase (NP) types and concomitant differences in the meaning of so. The analyses reveal that, in line with subjectification theory on intensification (Athanasiadou 2007), so is expanding its functional range from intensification to emphasis. The findings suggest a near-complementary distribution of these meanings, with intensifying so (‘very’) dominating in affirmative sentences (especially with object pronouns and names; “It’s so Star Trek”; SOAP, Days of Our Lives, 2004), and emphatic so (‘definitely’) in negated utterances (especially with pre-modified NPs, such as “It is so not a date”; SOAP, One Life to Live, 2007). Furthermore, intensifying uses of so are restricted to NPs that exhibit adjective-like characteristics and invite metonymic referencing (Gonzálvez-García 2014). So is attested almost exclusively with the copula be, which might hint at restrictions at work in this construction. With respect to the distribution of GenX so across the character groups, the scriptwriters attributed most utterances to (younger) women, in terms of both token frequency and dispersion within the group. This paper shows that the observations pertaining to language variation and change made for adjective intensification (“ so good”) also apply to NP intensification (“ so 2020”).
50
Kaplan, Isabelle R. "Comrades in Arts: The Soviet Dekada of National Art and the Friendship of Peoples." RUDN Journal of Russian History 19, no. 1 (2020): 78–94. http://dx.doi.org/10.22363/2312-8674-2020-19-1-78-94.
Full textAbstract:
This article examines the dekady of national art, a series of Soviet festivals fi rst staged in the mid-1930s to highlight the cultures and artistic accomplishments of the various non-Russian republics of the USSR. The institution of the dekada, I contend, made considerable contributions to Soviet nationbuilding eff orts and the construction of multiethnic culture. The article unfolds in three sections. The fi rst relies on archival documents to trace the origins and evolution of the dekada of national art in the context of its bureaucratic home, the All-Union Committee on Arts Aff airs. The second draws largely on periodical sources to consider the ways in which the larger currents of Stalin-era culture are refl ected in the dekady of national art and, in particular in the national operas that served as the centerpieces of the dekady. The fi nal section turns to the Friendship of Peoples campaign, identifying one aspect of it - that Soviet citizens appreciate not only their own national art but the art of other Soviet nations - as central to the dekady. Analyzing the public rhetoric surrounding the dekady, I identify several themes that emerge and their implications for forging a common pan-Soviet culture. I conclude that it is not only national cultural production, but the consumption of national cultural products by a multiethnic audience that is central to nation-building on multiple levels as well as a means to unite the ethnically diverse Soviet people, and that the dekada festivals aimed to bring the Soviet nations closer together by providing them an opportunity to consume one another’s cultural products.