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E-grāmata: Digital Scenography in Opera in the Twenty-First Century [Taylor & Francis e-book]

  • Formāts: 198 pages, 2 Tables, black and white; 8 Line drawings, black and white; 18 Halftones, black and white; 26 Illustrations, black and white
  • Sērija : Ashgate Interdisciplinary Studies in Opera
  • Izdošanas datums: 16-Sep-2021
  • Izdevniecība: Routledge
  • ISBN-13: 9781003093305
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  • Taylor & Francis e-book
  • Cena: 155,64 €*
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Digital Scenography in Opera in the Twenty-First CenturyPalielināt
  • Formāts: 198 pages, 2 Tables, black and white; 8 Line drawings, black and white; 18 Halftones, black and white; 26 Illustrations, black and white
  • Sērija : Ashgate Interdisciplinary Studies in Opera
  • Izdošanas datums: 16-Sep-2021
  • Izdevniecība: Routledge
  • ISBN-13: 9781003093305
Citas grāmatas par šo tēmu:
Taylor & Francis e-booksMore info about Taylor & Francis e-books
Rokasgrāmatas mājas lapa: https://www.taylorfrancis.com/books/9781003093305
Digital Scenography in Opera in the Twenty-First Century is the first definitive study of the use of digital scenography in Western opera production. The book begins by exploring digital scenographys dramaturgical possibilities and establishes a critical framework for identifying and comparing the use of digital scenography across different digitally enhanced opera productions. The book then investigates the impacts and potential disruptions of digital scenography on operas longstanding production conventions, both on and off the stage. Drawing on interviews with major industry practitioners, including Paul Barritt, Mark Grimmer, Donald Holder, Elaine J. McCarthy, Luke Halls, Wendall K. Harrington, Finn Ross, S. Katy Tucker, and Victoria Vita Tzykun, author Caitlin Vincent identifies key correlations between the use of digital scenography in practice and subsequent impacts on creative hierarchies, production design processes, and organisational management. The book features detailed case studies of digitally enhanced productions premiered by Dutch National Opera, Komische Oper Berlin, Opéra de Lyon, The Royal Opera, Covent Garden, San Francisco Opera, Santa Fe Opera, Théātre Royal de la Monnaie, The Metropolitan Opera, Victorian Opera, and Washington National Opera.
List of figures
xi
Acknowledgements xiii
Introduction to digital scenography in opera 1(23)
What is digital scenography?
5(3)
Why opera?
8(3)
Research methods
11(1)
The modes of synthesis
11(2)
Examples of practice
13(2)
Interviews
15(2)
Chapter outline
17(2)
References
19(5)
1 A new classification system for digital scenography: the modes of synthesis
24(23)
Articulating the modes of synthesis: non-synthesis, partial-synthesis, and full-synthesis
26(5)
Non-synthesis--San Francisco Opera, The Magic Flute (2012)
31(3)
Partial-synthesis--Theatre Royal de la Monnaie, The Magic Flute (2005)
34(3)
Full-synthesis--Komische Oper Berlin, The Magic Flute (2012)
37(2)
A comparison of critical responses to the three productions
39(3)
Conclusion
42(1)
References
43(4)
2 The variants of causal interplay
47(27)
Agency: the screen as `performer'
48(2)
Dutch National Opera, The Magic Flute (2012)--partial-synthesis
50(2)
Victorian Opera, Four Saints in Three Acts (2016)--partial-synthesis
52(2)
Augmentation: extension and transformation through digitalisation
54(3)
The Royal Opera, Covent Garden, Don Giovanni (2014)--partial-synthesis
57(2)
Victorian Opera, The Flying Dutchman (2015)--partial-synthesis
59(3)
Full-synthesis extremes of agency and augmentation
62(1)
Opera de Lyon, L'Enfant et les Sortileges (2016)--full-synthesis
62(3)
Autonomy: fdux-interactivity versus functional interactivity
65(2)
The Metropolitan Opera, Das Rheingold (2010)--partial-synthesis
67(2)
Implications for performers and audiences
69(2)
References
71(3)
3 The lineage of digital scenography in opera: Baroque origins to the twentieth century
74(24)
The origins of the Baroque opera paradigm
76(3)
The Baroque paradigm and the interplay between performer, stage setting, and spectator
79(1)
New perspectives: the scenic reforms of Ferdinando Galli-Bibiena (1657-1743)
80(3)
The scenographic transition to `grand opera'
83(2)
The `mystic chasm': Richard Wagner (1813-1883) and the Bayreuth Festspielhaus
85(4)
Adolphe Appia (1862-1928) and dynamic light
89(3)
Looking towards the twentieth century
92(2)
References
94(4)
4 The lineage of digital scenography in opera: multimedia developments in the twentieth century
98(21)
Avant-garde origins
100(2)
Edward Gordon Craig (1872-1966) and Enrico Prampolini (1894-1956): `A thousand scenes in one' and `luminous forms'
102(3)
Josef Svoboda (1920-2002) and the dynamic setting of the Laterna Magika
105(2)
The Tales of Hoffmann (1962)
107(3)
Gunther Schneider-Siemssen (1926-2015) and the holograms of the Salzburg Marionette Theatre
110(1)
The Tales of Hoffmann (1985)
111(3)
Looking towards the twenty-first century
114(2)
References
116(3)
5 The projection designer and evolving creative hierarchies
119(25)
The roles and responsibilities of the projection designer
120(3)
Industry recognition and acknowledgement
123(2)
The traditional theatrical hierarchy: director as ultimate authority
125(3)
The lateral hierarchy: collective directorate
128(5)
Hierarchical variation: projection designers as the directorial authority
133(4)
The evolving role of the projection designer
137(2)
Creative hierarchies and the modes of synthesis
139(2)
References
141(3)
6 Digital scenography and evolving production design processes
144(26)
A benchmark of organisational and funding models
145(3)
The twentieth-century standard for production design
148(3)
Washington National Opera's Das Rheingold (2016) --non-synthesis
151(3)
Theatre Royal de la Monnaie's The Magic Flute (2005)--partial-synthesis
154(2)
Dutch National Opera'sThe Magic Flute (2012)--partial-synthesis
156(2)
Santa Fe Opera's The (R)evolution of Steve Jobs (2017) --non-synthesis
158(3)
Komische Oper Berlin's The Magic Flute (2012)--full-synthesis
161(2)
Commonalities across the five production design processes
163(3)
Production design processes and the modes of synthesis
166(2)
References
168(2)
Conclusion: the future evolution of digital scenography 170(4)
References 174(3)
Appendix 1 Digitally enhanced opera productions reviewed for this research 177(4)
Appendix 2 Case study productions 181(6)
Appendix 3 Interview participants 187(8)
Index 195
Caitlin Vincent researches the future of work in the arts. Key areas of focus include opera, cultural labour, performance and technology, and equity and diversity. An acclaimed opera librettist, Vincent has been commissioned for Washington National Opera, the Schubert Club of Minnesota, the University of Connecticut, and Carnegie Hall.
Permanent link: https://www.kriso.lv/db/9781003093305_pe.html
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