By Jelena Novak

ISBN-10: 1472441036

ISBN-13: 9781472441034

Either in opera experiences and in such a lot operatic works, the making a song physique is usually taken without any consideration. In Postopera: Reinventing the Voice-Body, Jelena Novak reintroduces an understanding of the physicality of the making a song physique to opera reports. Arguing that the voice-body dating itself is a manufacturer of that 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 los angeles Bete (Philip Glass), Writing to Vermeer (Louis Andriessen, Peter Greenaway), 3 stories (Steve Reich, Beryl Korot), One (Michel van der Aa), native land (Laurie Anderson), and l. a. Commedia (Louis Andriessen, Hal Hartley) - which she phrases 'postoperas'. those items are websites for artistic exploration, the place the limits of the opera global are stretched. vital to this is often the influence of latest media, a de-synchronization among photo 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 global of opera, what interventions it makes, and the way it constitutes opera's meanings.

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Extra resources for Postopera: Reinventing the Voice-Body

Sample text

In his chapter “Post-Opera? 40 Tambling only uses the term “post-opera” in the title of the chapter. He does not mention it in the text at all; nor does he develop it as a theoretical notion. “A familiar question about opera in 1920s was whether it could have a future. ” See: “Postdramatic Condition,” Maska: 10–13, 14–17. 38 Katja Praznik, “What about ‘Postcontemporary Dance’,” “Postdramatic Condition,” Maska: 18–19. 39 Jelena Novak, “Coloratura Reloaded,” “Postdramatic Condition,” Maska: Performing Arts Journal, vol.

Texts by Abbate, Brooks, and Grover-Friedlander all tackle the problem of the body–voice gap and illuminate it from different perspectives. Abbate emphasizes the division between the liveness of the singing body and its awareness of its own singing, and the “deafness” of operatic characters as to both the causes and the consequences of that division. Brooks writes about opera’s denial of realistic representation as of the result of different demands for dramatic representations of the voice and of the body that result in the disembodiment of the voice.

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. Just as postdramatic theatre is beyond drama, so too with postopera: the drama 23 By “text” I don’t refer only to libretto text.

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Postopera: Reinventing the Voice-Body by Jelena Novak


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