By Jelena Novak
Either in opera reviews and in such a lot operatic works, the making a song physique is frequently taken without any consideration. In Postopera: Reinventing the Voice-Body, Jelena Novak reintroduces an expertise of the physicality of the making a song physique to opera reviews. Arguing that the voice-body dating itself is a manufacturer of which means, she in addition posits this courting as one of many significant using forces in fresh opera. She takes as her concentration six modern operas - los angeles Belle et l. a. Bete (Philip Glass), Writing to Vermeer (Louis Andriessen, Peter Greenaway), 3 stories (Steve Reich, Beryl Korot), One (Michel van der Aa), place of birth (Laurie Anderson), and l. a. Commedia (Louis Andriessen, Hal Hartley) - which she phrases 'postoperas'. those items are websites for inventive exploration, the place the bounds of the opera global are stretched. critical to this is often the influence of latest media, a de-synchronization among picture and sound, or a redefinition of body-voice-gender relationships. Novak dissects the making a song physique as a suite of ideas, protocols, results, and methods. That dissection indicates how the making a song physique acts in the international of opera, what interventions it makes, and the way it constitutes opera's meanings.
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Additional resources for Postopera: Reinventing the Voice-Body
When Lehmann theorizes the prefix “post” in his concept of postdramatic theatre, he points above all to theatre “after drama,” theatre that is “divorced” from a history of “being married” to the dramatic principle. It is theatre in which the dramatic text could still be used, but in different ways, and with a different status. By analogy with the observation that “dramatic theatre is theatre structured by drama,”26 I argue that conventional (dramatic) opera is structured by drama, too. A certain paradox is that even when music took over from the libretto as the dominant role in the opera, as was supposedly the case in Mozart’s operas, for example, opera was still structured by the dramatic principles of the libretto.
Only a few spoken texts were used, among them the non-narrative text written by Christopher Knowles. Due to Knowles’ neurological disorder, the logic of texts he wrote was built on an accumulation of words and variable repetitions of phrases. There are few longer narrative spoken texts, “speeches” that changed in different productions. One of the most emblematic was the “Prematurely Airconditioned Supermarket” speech by Lucinda Childs, and “Two Lovers Text” written by Mr Samuel M. 33 In Einstein there are no characters that sing, or characters that have a narrative function.
And indeed, those pieces are postdramatic. The poetic texts of One and Homeland are often fragmented and their parts are repeated, while the music does not follow the textual dramaturgy. In Three Tales the structure of the dramatic texts is fragmentary, and fragmented parts of the text are used by the composer to embed their melody in the music structure he composed using electronic devices as an aid. In La Belle et la Bête the situation regarding the relationship between the dramatic text and the structure of the piece is intriguing since the entire script of Cocteau’s film is used as libretto.
Postopera: Reinventing the Voice-Body by Jelena Novak