dc.contributor.author | Roesner, David | en_GB |
dc.contributor.department | University of Exeter | en_GB |
dc.date.accessioned | 2009-01-12T13:30:52Z | en_GB |
dc.date.accessioned | 2011-01-25T10:11:25Z | en_GB |
dc.date.accessioned | 2013-03-19T15:05:26Z | |
dc.date.issued | 2007-08 | en_GB |
dc.description.abstract | This article looks at two recent and widely recognized productions of Henry Purcell’s Dido and Aeneas (by choreographer Sasha Waltz, Berlin 2005, and theatre-director Sebastian Nübling, Basel 2006) and discusses three main aspects: 1. Genre: coming from a Tanztheater (Waltz) and a Sprechtheater (Nübling) background, each director renegotiates conventions of the operatic genre, and consciously evades expectations in pursuit of a new and challenging experience for both the performers and their audience. 2. Physicality: both productions place the performers’ bodies at the forefront of the mise-en-scène – they remap the singing, dancing, acting body by questioning conventions and expectations commonly found in the production and reception process. 3. Adaptation: both productions take unconventional liberties by adapting in a domain where notions of Werktreue (fidelity to the original work or score) still reign. Adopting ideas from Nicholas Cook and Mikhail Bakhtin, I will argue that the conceptual, musical and theatrical implications of both productions indicate a renegotiation of the social and performative relevance of operatic performance. | en_GB |
dc.identifier.citation | 1(2), 123-137 | en_GB |
dc.identifier.doi | 10.1386/smt.1.2.123/1 | en_GB |
dc.identifier.uri | http://hdl.handle.net/10036/47301 | en_GB |
dc.language.iso | en | en_GB |
dc.publisher | Intellect | en_GB |
dc.relation.url | http://0-ejournals.ebsco.com.lib.exeter.ac.uk/direct.asp?ArticleID=4277B985B18BA58A30F6 | en_GB |
dc.subject | Adaptation | en_GB |
dc.subject | Contemporary music | en_GB |
dc.subject | theatre | en_GB |
dc.subject | Performative turn | en_GB |
dc.subject | Bakhtin, Mikhail Mikhailovich | en_GB |
dc.subject | Nübling, Sebastian | en_GB |
dc.subject | Purcell, Henry - Dido and Aeneas | en_GB |
dc.subject | Waltz, Sasha | en_GB |
dc.title | Singing actors and dancing singers: Oscillations of genre, physical and vocal codes in two contemporary adaptations of Purcell's Dido and Aeneas | en_GB |
dc.type | Article | en_GB |
dc.date.available | 2009-01-12T13:30:52Z | en_GB |
dc.date.available | 2011-01-25T10:11:25Z | en_GB |
dc.date.available | 2013-03-19T15:05:26Z | |
dc.identifier.issn | 1750-3159 | en_GB |
dc.description | Post-print version of article. © Intellect, 2007. | en_GB |
dc.identifier.journal | Studies in Musical Theatre | en_GB |