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Grundlegung Einer Librettologie
Die traditionsreiche Reihe QUELLEN UND FORSCHUNGEN ZUR LITERATUR- UND KULTURGESCHICHTE gehört zum festen Bestand renommierter Publikationsforen der Deutschen Literaturwissenschaft. Von Mark-Georg Dehrmann und Christiane Witthöft herausgegeben, präsentiert die Reihe hochwertige wissenschaftliche Arbeiten, die literarische Texte im Zusammenhang mit kulturhistorischen Phänomenen untersuchen.
eBook
Kimberly Akimbo: A New Musical Based on the Play
2023 Tony Award winner for Best Musical!NEW JERSEY, 1999. Kimberly is about to turn sixteen and has recently moved with her family to a new town in suburban New Jersey. Suffering from a disease that causes her to age four and a half times faster than her high school peers, surrounded by a dysfunctional family (and possible felony charges), Kimberly is also navigating her first teenage crush. Ever the optimist, Kimberly is determined to find happiness against all odds and embark on a great adventure.
eBook
‘Look! … Things People Can’t See!’ Wordbooks, Reader-Listenership, and Invisible Theatre in Handel’s Oratorios
In eighteenth-century England, anyone attending an opera, an oratorio, or even a church service would typically have had a printed ‘wordbook’ made available to them to read during the performance. Such wordbooks, whether available for purchase or distributed free of charge, contained the words to be sung (the libretto), usually with translations if necessary, and sometimes also explanatory footnotes, prefaces or plot summaries, or lists of dramatis personae. Examining several oratorios of George Frideric Handel, especially Saul and Theodora, this article asks how the wordbook influenced the drama of a performed work and to what extent this impact made it necessary to have an actively reading audience. The article also explores the use of stage directions in oratorio wordbooks, arguing that they provide rich opportunities for the audience’s imagination by suggesting images that the performance alone cannot provide (since English oratorio probably included no stage action). It notes the wordbook’s necessity in determining which singer is portraying which character, as well as the expressive and dramatic use to which these character identifications can be put. And it compares the practices of different oratorio librettists, suggesting great sensitivity to the unique imaginative power of the oratorio-with-wordbook medium.
Journal Article
The Baroque Libretto
The Thomas Fisher Library at the University of Toronto houses a major collection of opera and oratorio librettos associated with performances across Europe. In addition to containing the text of musical dramas, these books incorporate aspects of historical detail and literary history, as well as biographical details of performers. The Baroque Libretto catalogues the Baroque Italian operas and oratorios in the Fisher Library and offers an analysis of how the study of libretto can inform the understanding of opera. The volume also catalogues French and English items from the same period in appendices.
This comprehensive discussion draws on the literary, musical, dramatic, and theatrical aspects of each libretto while also considering its philosophical, historical, social, and economic contexts. The result is a work with appeal for those curious about the operatic genre and contemporary European culture.
eBook
Adaptation and Creation of Psycho-Opera Scripts Based on Emotional Calculation - An Example from Verdi’s Opera Macbeth
This study effectively associates the evaluation object tree with attribute nodes by constructing an innovative tree-structured emotion dictionary. Utilizing the TF-IDF algorithm, this paper meticulously classifies the emotional features in opera librettos and adds a list of inspirational word nodes. Further, a basic framework of weighted decision matrix is designed, and the data in the emotion score matrix is normalized by Softmax method, to derive the weight allocation coefficients, according to which the results of weight coefficient allocation of the opera libretto are calculated. In particular, for the adaptation of the famous opera Macbeth, this paper proposes three significant principles to ensure that the emotional Expression of the libretto matches the creative intent. The adapted libretto was subjected to emotion calculation and effect analysis, and the empirical study showed that in the first six minutes of the adaptation, there were two periods characterized by extremely significant emotional tension, in which the emotional tension exceeded 7.5 points in both cases. In the specific dynamic analysis, about 60% of the probability emotional value of clip 2 is located in the first quadrant, which coincides with the expected creative goal. In the correlation analysis of the script adaptation, the correlation between emotional attachment and the audience’s willingness to watch the play is as high as 0.8963, indicating that the adaptation is effective. This study not only innovates the method of emotion analysis of opera libretto in theory, but also provides practical guidance for opera libretto adaptation in practice, which helps to enhance the artistic infectivity of opera works and the audience’s viewing experience.
Journal Article
Melpomeny podrzucone dziecię” oraz „grand monstre”: Porównanie dramatycznej architektoniki dzieł Wojciecha Bogusławskiego «Herminia, czyli Amazonki» oraz «Izkahar, król Guaxary»
Tekst jest próbą nowego ujęcia problematyki dotyczącej twórczości dramatyczno-muzycznej Wojciecha Bogusławskiego, poprzez wprowadzenie jej w obszar badań operologicznych. W artykule analizowane są wzajemne relacje libretta operowego i melodramatu w twórczości ojca polskiego teatru. Obierając za punkt wyjścia tezę Alberta Giera o paradygmatycznym kształcie libretta operowego i tzw. dramatu otwartego, zastosowano metodę krzyżowej weryfikacji hipotez, która służy uwypukleniu zacierania się granic gatunkowych obu form dramatycznych. Libretto Herminii, czyli amazonek zostaje oświetlone rozważaniami z zakresu poetyki melodramatu, zaś Izkahar, król Guaxary interpretowany jest w perspektywie rozważań librettologicznych. Wyniki prowadzonych badań wskazują na daleko idące podobieństwa obu form dramatycznych na płaszczyźnie strukturalno-ideowej (muzyczność obu form dramatycznych, mozaikowość czasoprzestrzenna, tableau vivant, silna polaryzacja sfer dobra i zła, skutkująca ich personalizacją, modus melodramatyczny, hiperbolizacja stanów emocjonalnych, nadmierna afektacja, lieto fine, pierwowzór epicki, konstruowanie scen zbiorowych, operowanie zbiorowością na scenie), a także filozoficzno-antropologicznej (rozpad paradygmatu klasycznego, „biedermeierowski tragizm”, zanegowanie opozycji zewnętrzne – wewnętrzne, problematyka teodycei).
Journal Article
Herman Cornejo: Giving Voice to the Earth Through Dance
Through his ballet Anima Animal, the exceptional Argentine dancer Herman Cornejo brings to the present the beliefs of an ancestral culture, the Guaraní. The complex genesis of the piece has as its initial reference a libretto that was intended to be staged by Nijinsky. In its contemporary interpretation, it has been freely re-imagined by Cornejo from the perspective of native cultures, as he was especially impressed by the relationship of native people with the universe and the natural world, and the care and respect they manifest for the earth. His views on the function of art and his position in the face of war correspond to the values he displays in his life and work.
Journal Article
Ideology at the Crossroad of Arts
Proceeding from the notions of the social imaginary and the fictive in literature, the paper defines ideological interpellation as a possible function of works of art. Similarities in creating meaning by double referencing are highlighted, both in literature and music. Extra-musical elements seem to be necessary to establish a narrative and to trigger an ideological interpellation. With regards to this claim, the paper examines the ideological discourse of the »douceur du foyer« in the genre of opera.
Journal Article