Musical dramaturgy

Colloque international "Lumière et musique : Appropriations, métaphores et analogies"
19-21 Novembre 2018, Paris, Fondation Singer Polignac
Programme et inscription : https://www.singer-polignac.org/fr/missions/sciences/colloques/1626-lumiere-et-musique-appropriations-metaphores-analogies

This co-edited, peer-reviewed volume seeks to blend documented history and academic scholarship surrounding the figure of Cathy Berberian with a double focus. On the one hand, this anthology aims to lay bare the legacy of Berberian as a woman performer-composer who had a remarkable vocal range and critical sense of vocality. On the other hand, it seeks to further a critical (and self-reflexive) thinking about contemporary vocality as developed within post-modern culture by such vocalists-composers as La Berberian who continues to inspire current and future vocal artists until this very day.

Стаття присвячена вивченню питання музичної драматургії у кінофільмі «Хроніки Нарнії: Лев, чаклунка та шафа». Було з’ясовано, що, аналізуючи кіномузику найбільш знаних і культових фільмів у жанрі фентезі ХХІ століття, науковці лишають цикл фільмів «Хроніки Нарнії» поза увагою. Відсутність ґрунтовних досліджень, присвячених музиці фільму «Хроніки Нарнії: Лев, чаклунка та шафа» зумовлює наукову новизну даної статті. Метою статті є визначення основних музичних тем, що є структурними одиницями музичної драматургії та особливостей їх взаємодії, а також виявлення основних принципів драматургії музичної складової вищезгаданого фільму. Було виділено основні музичні теми, як є основою побудови музичної побудови фільму: це тема Нарнії, тема Аслана, тема прощання, тема сім’ї, тема захисників Нарнії, тема містера Тумнуса, тема Нарнійської колискової, тема подорожі, тема Білої чаклунки, тема Королеви нарнії, тема Нападу. Для виконання даного дослідження було застосовано метод комплексного аналізу кіномузики за авторством Т. Шак, а також інші методи аналізу музичної драматургії, викладені у працях з працях Т. Чернової, Л. Казанцевої, В. Бобровського, І. Соллертинського. Внаслідок досліджень було виявлено, що музична драматургія кінофільму «Хроніки Нарнії: Лев, чаклунка та шафа» належить до трьохелементного репризного драматичного сюжетно-монтажного симфонічного неоромантично-популярного типу. Основними принципами музичної драматургії є відсутність чіткої сюжетної прив’язки лейттем та налаштованість музичних тем на емоції головних героїв, спорідненість музичної мови головних персонажів, хронологічна вільність музичної стилістики та конфліктні відношення музичних тем.
The article is devoted to the music dramaturgy study in the Chronicles of Narnia: The lion, the witch and the wardrobe’ film. It has been found that by analyzing the film music of the most famous and cult films in the fantasy genre of the XXI century, scientists are ignoring the series of films "The Chronicles of Narnia". The lack of thorough research on the music of The Chronicles of Narnia: The Lion, the Witch and the Wardrobe determine the scientific novelty of this article. The aim of the article is to determine the main musical themes that are the structural units of musical dramatugy and the peculiarities of their interaction, as well as to identify the basic principles of dramaturgy of the musical component of the above film. The main musical themes were identified as the basis for the musical construction of the film: the theme of Narnia, the theme of Aslan, the theme of farewell, the theme of family, the theme of the defenders of Narnia, the theme of Mr. Tumnus, the theme of Narnia's lullaby, the theme of travel, the theme of Narnia, the theme of the Attack. To perform this study, the method of complex analysis of film music by T. Shak was used, as well as other methods of analysis of musical dramaturgy, set out in the works of T. Chernova, L. Kazantseva, V. Bobrovsky, I. Sollertinsky. As a result of research, it was found that the musical drama of the film "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe" belongs to the three-element reprise dramatic plot-editing symphonic neo-romantic-popular type. The main principles of musical drama are  the lack of a clear plot of the leitmotif and the mood of musical themes on the emotions of the main characters, the kinship of the musical language of the main characters, chronological freedom of musical style and conflicting musical themes.

Dunkirk di Christopher Nolan: l'immagine è racconto Introduzione Dunkirk è un film del 2017 scritto e diretto da Christopher Nolan, già regista di altri validissimi titoli quali Memento (2000), The Prestige (2006), Inception (2010), Intestellar (2014) e de La Trilogia del Cavaliere Oscuro, saga cinematografica dedicata a Batman e composta da Batman Begins (2005), Il cavaliere oscuro (2008) e Il cavaliere oscuro-Il ritorno (2012), che ha contribuito a rilanciare il franchise del supereroe. In Dunkirk si ritrovano stilemi tipici della cinematografia di Nolan, dalla sceneggiatura basata sull'alternanza di diverse linee temporali, all'utilizzo di musica e fotografia come mezzi espressivi fondamentali alla narrazione. Dunkirk è ambientato durante la seconda guerra mondiale e narra dell'evacuazione di Dunkerque, città portuale posta a dieci chilometri dal confine col Belgio sul canale della Manica, quando le truppe inglesi e le truppe franco-belghe, nel 1940, durante le prime fasi della seconda guerra mondiale, erano circondate dalle unità tedesche sulla costa e l'unica via di fuga consisteva nel raggiungere l'Inghilterra. Il film fa riferimento all'Operazione Dynamo, perpetrata dalle forze Alleate tra il 27 maggio e il 4 giugno 1940, che risultò nel salvataggio di oltre trecentomila uomini dal molo di Dunkerque. Analisi Come citato nel primo paragrafo dell'introduzione, anche in Dunkirk è possibile assistere agli stilemi tipici della cinematografia di Nolan.

ในงานวิจัยสร้างสรรค์เรื่อง “การศึกษาดัดแปลงวรรณกรรมเป็นบทละครเพลง : กรณีศึกษาหลายชีวิต” ผู้วิจัยศึกษาวิเคราะห์กลวิธีและกระบวนการสร้างบทละครเพลงจากวรรณกรรมเพื่อให้ได้องค์ความรู้เกี่ยวกับการสร้างบทละครเพลงแบบหลายโครงเรื่อง ผู้วิจัยเลือกวรรณกรรมเรื่อง หลายชีวิต ของ ม.ร.ว.คึกฤทธิ์ ปราโมช ซึ่งมีการใช้กลวิธีการเล่าแบบหลายโครงเรื่อง มาพัฒนาเป็นบทละครเพลงที่ผู้ชมสามารถติดตามและเข้าใจทุกชีวิตของตัวละครได้  และสามารถสื่อแก่นความคิดของเรื่องสู่ผู้ชมละครได้อย่างมีประสิทธิภาพ 
ผู้วิจัยเลือกที่จะรักษาการเล่าเรื่องแบบหลายโครงเรื่องอันเป็นรูปแบบที่โดดเด่นของวรรณกรรมเรื่องนี้เอาไว้ในบทละครเพลงโดยเลือกเล่าทั้ง ๑๑ เรื่องย่อยของ ๑๑ ตัวละครที่ปรากฎในวรรณกรรมให้ครบถ้วนทั้งหมด ผู้วิจัยตั้งต้นจากการสร้างบทละครพูดที่สมบูรณ์ขึ้นมาก่อนแล้วจึงพัฒนาจากบทละครพูดสู่บทละครเพลง  ผู้วิจัยพบว่าการดัดแปลงเรื่องราวจากวรรณกรรม หลายชีวิต เป็นบทละครเพลง แม้จะมีหลายโครงเรื่อง แต่ก็สามารถกระตุ้นให้ผู้ชมติดตามเรื่องได้ จนผู้ชมได้รับความคิดหลักในที่สุด 

คำสำคัญ : การดัดแปลงบทละคร  การดัดแปลงวรรณกรรม ละครเพลง หลายชีวิต มรว.คึกฤทธิ์ ปราโมช

This practice-oriented research “A study of adaptation from a novel to a musical : A case study of Many Lives” investigates the possibilities of approaches and processes regarding writing a musical from literary text. The aim for this research is to gain knowledge of how to write a musical with multi-plot narrative. The researcher has decided to adapt M.R. Kukrit Pramoj’s Many Lives, with its multi-storyline structure, to adapt into a musical with multi-plot structure which can be followed and all  11 protagonists of 11 stories can be understood and empathized by the audience. Moreover, this musical will effectively deliver its main message to the audience through its complex structure. 
The researcher have decided to keep all 11 storylines concerning 11 characters whose lives only cross in the same tragic ferry accident. The researcher initially wrote a complete straight play, and subsequently revised it into a musical. It is found that an adaptation of Many Lives from literary text to musical theatre, despite its unconventional structure, can attracts the audience as well as effectively delivers its main message to the audience.       

Keyword : Theatrical Adaptation, Literary Adaptation, Musical, Many Lives, Kukrit Pramoj,M.R.

This Dramaturgy Packet covers the life of author P.L. Travers, summaries of her books, investigation into frightening children's story characters, magical characters, symbolism, similarities and differences between the books, Disney film, Saving Mr. Banks, and the Broadway Musical, Production History, Themes and Messages, a glossary, and a bibliography.

La Traviata è l’ultima tappa di un dipanarsi della storia di Marguerite Gautier attraverso quattro media: il romanzo, la pièce teatrale, il libretto e il melodramma, tutti con caratteristiche diverse. Sono messe a confronto le diverse traduzioni intersemiotiche della vicenda, come pure gli intrecci e le fabulae mutevoli, secondo le possibilità del mezzo. L’analisi esamina i tre testi letterari e le quattro diverse versioni della storia: ne rintraccia uguaglianze e differenze, prestando la massima attenzione al modo in cui Giuseppe Verdi esprime attraverso tecniche squisitamente compositive – scelta delle armonie, delle melodie, dei piani tonali – la drammaturgia di questo capolavoro.

In this paper, I present procedures and methodologies that were developed in the Drama Lab (LADI) at University of Brasilia. Initially, I discuss the issue of musical dramaturgy, taking it into its reality multitasking, which destabilizes an alleged unified notion of the Performing Arts. Then expanding the issue of musical dramaturgy and its heterogeneity, I present ‘the diagrammatic draft’, which manifests organization options for a scenic event in its multiplicity of references. Finally, previous analyses and discussions are reoriented for an appraisal of the so-called “Interdisciplinary seminars’, in which creative processes are generated from the correlation between textual analysis, playwriting, and scenic materiality.

As construções musicais utilizadas por Claudio Monteverdi,  mais do que uma maneira de organizar o discurso musical, refletem uma proposta dramatúrgica do compositor, no que concerne ao re-significado do texto. O texto poético, com seu significado próprio, ao ser reorganizado em suas repetições, em diversas tessituras vocais, sobreposições textuais e outros procedimentos composicionais próprios da seconda pratica, notadamente aqueles que são utilizados para a construção das melodias e encontros harmônicos, externa um significado novo, muitas vezes distante do original puramente literário. Monteverdi, ao elaborar processos melódicos com soluções distintas daquelas palestrinianas, com seu modo peculiar e individual de tratar as dissonâncias (melódicas e harmônicas), constrói uma nova dramaturgia  e aponta suas próprias possibilidades interpretativas.

O presente artigo objetiva analisar a produção dramatúrgica de Chico Buarque, a fim de identificar a possível existência de uma linha de trabalho entre as quatro peças por ele escritas. Partindo do pressuposto de que o projeto de um dramaturgo se expressa na composição do roteiro teatral e não necessariamente nas encenações que nele se baseiam, tomou-se como fontes principais os quatro roteiros teatrais escritos por Buarque, cuja análise será cotejada por elementos a eles externos, sempre que se faça necessário. A partir desta análise, intenta-se contribuir para o adensamento dos estudos historiográficos do teatro, bem como para uma abordagem da obra buarqueana a partir de uma ótica ainda pouco explorada por historiadores: a sua escrita dramatúrgica.
PALAVRAS-CHAVE: Arte e política, História do Teatro Brasileiro, Chico Buarque.

This Dramaturgy Packet, created for California Regional Theatre, provides research and resources about the creators of the show (Rogers, Hammerstein, Riggs, de Mille, Mamoulian (Director), and Ayers (Designer). It also provides information about Themes and Messages in the story, and Cast Resources regarding the history of the Oklahoma's statehood, Oklahoma weather, the accent, a map of the places mentioned in Oklahoma! and notes for all the major characters. Included also is a glossary of the terms in the show that might be unfamiliar or difficult to understand. A bibliography is also included.

Film music and its dramaturgical significance are receiving increasing attention. However, little use has been made of the theoretical history of dramaturgy and narratology in concrete access to the many musical-dramaturgical varieties of music in film. The need for this also arises from the fact that previous terminology and systems of the functions of film music often only inadequately depict the circumstances.
In this book, these backgrounds are illuminated and, with a view to film music, a re-evaluation of, among other things, the concept of mimesis and the term fabula is undertaken. The author develops a concept of the fabula connection of film music, a system of music-image couplings and a new model of auditory levels that does without the concept of diegesis. These tools simplify the use of language, enrich film music analysis and clarify diverse music-dramaturgical conditions in contemporary cinema as well. What is also new is the proposition that film music can be involved in comparable processes that exist between the arousal of emotions and narrative processing. Numerous examples provide evidence and, together with a glossary, give impulses for further thinking.

La idea del teatro musical como espectáculo
multimedia constituye un tópico
contemporáneo con profundas raíces
históricas. Desde distintas perspectivas, los
estudios de dramaturgia musical intentan dar una
respuesta a la compleja dialéctica que se plantea
entre un texto dramático determinado por su
dimensión musical y la representación escénica. El
presente coloquio ofrece un panorama de distintas
aproximaciones y reflexiones en torno a la
ópera y a otros géneros afines como el Singspiel,
la zarzuela o la opéra comique, acercándonos a
uno de los campos más activos de la musicología
actual y de la reflexión sobre la música como realidad
cultural.

This definition of dramaturgy as a comprehensive theory of dramatic structure is
the cornerstone of modern dramaturgical practice. This is also how the concept of
dramaturgy is viewed in popular culture. In the February 2013 episode of the hit TV
series Smash, titled “The Dramaturg,” a dramaturg is referred to as “the book
doctor.” His job is to fix the structural errors afflicting the script of the new musical.
This particular example of the pop culture use of the word “dramaturg” reflects a
broader understanding of the concept of dramaturgy to mean any purposeful
arrangement of events, as in the dramaturgy of one’s life, war, or political campaign.

It is perfectly obvious that opera is a particular form of theater: a particular form, that is, of stage action. Not so obvious is how to identify the elements that generate drama in an opera: to precisely describe operatic dramaturgy. This is evidenced by the inconclusive debate that has recurred throughout the history of music (Di Benedetto 1988). This chapter relates to an epistemological study of the ways in which operatic dramaturgy has been analyzed; more specifically, to a comparison of two schools of thought. According to one of these, the drama stems from the verbal text; according to the other, it originates in the musical elements. To avoid any ambiguity, the phrase " musical dramaturgy " will be understood here in its etymological sense of the " production (ἔργον) of theatrical action (δρᾶμα) through music. " In that sense, musical dramaturgy is a sub-category of poetics. This definition is narrower than the generic " study of opera " seen in many university courses, but it covers more ground than theories of musical dramaturgy such as the one that Carl Dahlhaus strove to forge in the 1980s.

Nelle enciclopedie della musica, il libretto dello Sposo burlato di Niccolò Piccinni (1769) è attribuito in modo unanime quanto erroneo a Giovanni Battista Casti. Attraverso un’indagine che dalla partitura si allarga alla storia della letteratura e della Chiesa, si propone qui l’attribuzione della paternità di questo testo a Giulio Cesare Cordara; e si spiegano altresì le ragioni sorprendenti che con ogni probabilità condussero un importante gesuita, già ben noto per il suo talento comico-satirico, a concepire un libretto anonimo e con molteplici livelli di lettura. Il volume contiene inoltre la ricostruzione completa della circolazione di quest’opera non soltanto in Italia, ma pure in Francia, dove Piccinni ne musicò una versione in francese firmata da Pierre-Louis Ginguené, e in Austria, Ungheria, Germania. Nei paesi germanofoni il libretto italiano fu musicato da Carl Ditters von Dittersdorf, che successivamente ne curò una traduzione tedesca che si adattasse alla musica da lui già composta. Per ciascuno dei tre libretti è qui presentata l’edizione critica integrale, preceduta da un ampio saggio firmato da uno specialista dell’area musicologica e linguistica di competenza. Questa ricerca tripartita contiene, tra l’altro, nuovi ritrovamenti di fonti musicali e librettistiche, nonché l’individuazione di amplissime parodie testuali e musicali che nel caso italiano riguardano un’aria dalla Merope di Giovanni Battista Borghi, nel caso francese l’Armide di Quinault. Dell’aria di Borghi e della parodia di Piccinni viene pure offerta l’edizione critica integrale.

Giaches de Wert è il primo compositore a scrivere madrigali su ottave tratte da La Geru- salemme Liberata. Accade nel Settimo libro de’ madrigali a cinque voci (1581), quando le due ottave che Torquato Tasso giudicava le migliori (XII, 96–97) ricevono una intona- zione musicale. Nell’Ottavo libro (1586), Wert torna ad utilizzare come testo i versi del poema, musicandone dodici ottave. Finora non esistevano studi in grado di spiegare le numerosissime differenze che intercorrono tra l’edizione comunemente conosciuta del capolavoro tassiano e le ottave utilizzate da Wert; l’edizione critica delle opere curata da Carol MacClintock con la collaborazione di Melvin Burnstein non accenna affat- to al problema. Questo saggio lo risolve attraverso un’analisi dei manoscritti di Wert e delle diverse edizioni della Gerusalemme, riuscendo ad individuare le fonti tassiane del madrigalista.

Cette étude apporte un éclairage sur un volet méconnu de l'oeuvre poétique de Salvatore Quasimodo : ses trois livrets d'opéra, écrits entre 1949 et 1964, au moment où l'auteur revendiquait le rôle dialogique et éducatif de la poésie. Les différentes sources d'inspiration des livrets permettent d'éclairer trois différentes facettes du poète sicilien : le traducteur dans Billy Budd ; le chantre de la Résistance et de l'après-Guerre dans Orfeo Anno Domini MCMXLVII ; le mythographe de la Sicile dans L'amore di Galatea. De plus, l'étude comparative des livrets, analysés et situés dans l'ensemble du corpus poétique, révèle la présence de thèmes et de motifs typiquement quasimodiens, démontre le rapport d'intertextualité entre les livrets et le reste de la production du poète, et constitue une preuve ultérieure de la continuité entre la période « hermétisante » et la période « engagée » de Salvatore Quasimodo.

Sumário


Apresentação


Dossiê: Ésquilo/ Aeschylus/

Six Obstacles to Understanding Aeschylus
Richard Seaford


Eschilo, Persiani 302-330: alcune riflessioni testuali e esegetiche sulla prima rhesis del messaggero.
Stefano Amendola


Aesch. Pers. 859-860: testo ed esegesi
Giovanna Pace

Persiani: una regina senza nome
Paola Volpe

La caída de Jerjes y su reflejo métrico en Los Persas de Esquilo
Elsa García Novo


The Didymus-Herodicus Hypothesis:
Did Aeschylus Choreograph and Perform the Puns in Persians?
Stratos E. Constantinidis

Disorienting Aeschylus’s Persians
Rush Rehm


Aetiology and Justice in the Danaid Trilogy
Pär Sandin


El elenco social de Suplicantes de Esquilo
María del Pilar Fernández Deagustini


DU CRI AU CHANT : DÉSORDRE DE LA VOIX MÉLIQUE DANS LES SEPT CONTRE THÈBES
ANNE-IRIS MUÑOZ

Ideas from the Oresteia
Alan H. Sommerstein

The Sequence of the Trial Scene in Eumenides
Oliver Taplin


“Ouviste a verdade”: o discurso do Arauto no Agamêmnon de Ésquilo
Beatriz de Paoli

Documenta


Huguianas



Texto&Versões
Cadio, de Georges Sand& Paul Meurice.
Tradução: Carlos Alberto da Fonseca



Ideias& Críticas

Metri gratia: Homeric Performance, Performativity, and Performability
Ronald Blankenborg


O palco social alinhado às características brechtianas em "Six Degrees of Separation", de John Guare
Mariana Soletti

Oriente Ocidente
Soraia Silva (UnB)
Elise Hirako (UnB)

CRUZ CREDO: Metafísica yorùbá para uma epistemologia da dança negro-brasileira
Maicom Souza e Silva



Musicografias

Happy Hour (2021), Drama musical

For the first time in Russian musicology, the article explores dramaturgical parallels between the operas “Eugene Onegin” by Pyotr Tchaikovsky and “Rusalka” by Alexander Dargomyzhsky at the level of plot, main characters images, libretto dramaturgy, and musical composition. The details are provided, including little known information on how Tchaikovsky felt about the “Rusalka”. Dramaturgical intersections of Dargomyzhsky’s opera with Alexander Pushkin’s novel “Eugene Onegin”, which, in turn, could attract Tchaikovsky’s attention at the first stage of composing the opera, are considered. In this regard, the history of creation of the initial scenario of “Eugene Onegin” and participation of music critic Nikolay Kashkin in it are carefully reconstructed, details of composer’s private life are addressed. A hypothesis about the possible influence of Dargomyzhsky’s “Rusalka” on the dramaturgic idea of Tchaikovsky’s opera is proposed, a number of plot and situational parallels between the two operas are revealed. The dramaturgy and compositional scheme of the first two acts of “Rusalka” and “Eugene Onegin” are consistently compared, including the development of the conflict; the techniques of reprise and inversion in relation to the first act, which unify the third act of Tchaikovsky’s opera and the fourth act of Dargomyzhsky’s opera, are discovered. Two interrelated ideas in the dramaturgy of both operas are considered in the context of the denouement: the impossibility of substituting happiness and the impossibility of returning lost happiness.

Keywords: Pyotr I. Tchaikovsky, Nikolay D. Kashkin, Alexander S. Dargomyzhsky, Aleksandr S. Pushkin, “Eugene Onegin”, “Rusalka”, scenario, libretto, composition and dramaturgy of the opera, idea of happiness.

В статье впервые в отечественном музыкознании исследуются драматургические параллели между операми «Евгений Онегин» П. И. Чайковского и «Русалка» А. С. Даргомыжского — на уровне сюжета, образов главных героев, драматургии либретто, музыкальной композиции и драматургии. Приводятся сведения, в том числе малоизвестные, об отношении Чайковского к «Русалке». Отмечаются драматургические пересечения оперы Даргомыжского с романом А. С. Пушкина «Евгений Онегин», которые, в свою очередь, могли привлечь внимание Чайковского на первом этапе сочинения оперы. В связи с этим подробно реконструируется история создания первоначального сценария «Евгения Онегина» и участия в нем музыкального критика Н. Д. Кашкина, затрагиваются обстоятельства личной жизни композитора. Выдвигается гипотеза о возможном влиянии «Русалки» Даргомыжского на драматургический замысел оперы Чайковского, выявляется ряд содержательных и ситуационных параллелей между двумя операми. Последовательно сопоставляются драматургия и композиционный план первых двух актов «Русалки» и «Евгения Онегина», в том числе развитие конфликта; обнаруживаются объединяющие третий акт оперы Чайковского и четвертый акт оперы Даргомыжского приемы репризности и инверсии по отношению к первому действию. В контексте развязки рассматриваются две взаимосвязанных идеи в драматургии обеих опер: невозможности «замены счастья» и невозможности вернуть утраченное счастье.

Ключевые слова: П. И. Чайковский, Н. Д. Кашкин, А. С. Даргомыжский, А. С. Пушкин, «Евгений Онегин», «Русалка», сценарий, либретто, композиция и драматургия оперы, идея счастья.

"The Inner Story of The Further Shores of Knowing" is an essay about the play, The Further Shores of Knowing: A Metaphysical Musical Fantasy, in the volume of the same title, edited by Michael Urheber and Jack Engstrom (pages 119-135). The published book of the script also contains essays by Foster Gamble, Louis Kauffman, and Randolph Dible. This play is an instance of what I am calling "astral theurgy," which draws the participant into a symbolic narrative matrix that coalesces with the perennial story of transcendental philosophy, and with the spiritual and world-historical theme of integrality. This 'lnner Story' is also our common, universal story as cosmic, human, and spiritual beings within the largest compass of the far sphere; the infinite sphere as the fabled further shore. The agents of this symbolic matrix of story employ George Spencer-Brown's Laws of Form as a way of making the crossing to the further shore, through the umbilical point of the far sphere, at the pole star.

The unusual aria forms employed by Rossini, linked to a specific dramatic
meaning, prominently include the romance, found in La Cenerentola
and Otello. The romance, originally from Spain, became widespread
in France in the second half of the eighteenth century, especially
in opéras comiques. The essay discusses the two romances «Una volta,
c’era un re» and «Assisa al piè di un salice» in the context, on the one hand, of French works on Cinderella, starting with Perrault’s fairy
tale, and, on the other, of French translations of Shakespeare’s Othello.
Among other findings, this contextualization reveals a potential source
for Desdemona’s melody.

This chapter presents a study of Metastasio’s drama Demofoonte
from the perspectives of Descartes’ theory of passions and Aristotle’s ideas of tragedy, taking into account how these were reflected or challenged in Metastasio’s own writings and with a special emphasis on the characters’ circumstances, relationships and social status, as well as on the contrast between their passions and actions. It aims to demonstrate that this drama was designed to create circumstances allowing the expression of the extreme passions of pity and aversion when, in the third act, the principal character, Timante, suddenly realises that he has committed the most terrible of crimes, i.e. incest, having unknowingly married his own sister and having bear Olinto, a true ‘misero pargoletto’, an unhappy little boy born out of sin. As the drama was naturally conceived to be set into music, this study concludes by analysing and comparing manifold musical settings of Metastasio’s original arias for the drama, in order to explore the compositional association between key musical features and specific passions as materialised in some forty settings of Timante’s aria.

Nel 1957 va in scena alla Piccola Scala La donna è mobile di Riccardo Malipiero, su libretto di Guglielmo Zucconi dalla commedia Nostra Dea di Massimo Bontempelli. È un’opera anomala sotto molti aspetti: appartiene al genere dell’opera buffa, poco frequentato dai compositori coevi; si basa su un pezzo teatrale quasi contemporaneo, in controtendenza rispetto alle commedie in musica dal sapore arcaicizzante del primo Novecento; e infine Malipiero, fedele alla sua personale poetica, si avvale qui del metodo dodecafonico, reputato all’epoca poco adatto alle esigenze del teatro comico. La dodecafonia di La donna è mobile però ha poco a che vedere con il modello di Schönberg: Malipiero rifugge il principio dell’elaborazione, e sfrutta invece le serie come strutture melodiche fisse. Il metodo dodecafonico non ha pertanto un impiego strutturale, bensì è utilizzata a fini drammaturgici, laddove le serie sono usate a mo’ di Leitmotiv per caratterizzare i singoli personaggi. Non solo la dodecafonia, ma tutti gli elementi di modernità in La donna è mobile sono spesso smorzati dal ricorso a soluzioni compositive tradizionali, pur tenendo conto dell’intento parodistico e canzonatorio di certe scelte. L’opera, come attestano anche alcune recensioni della ‘prima’ milanese, non si può pertanto dire un modello per un nuovo teatro musicale comico, ma piuttosto l’estrema propaggine di un genere ormai passato.


In 1957 Riccardo Malipiero’s La donna è mobile was staged at “La Piccola Scala” in Milan, with a libretto by Guglielmo Zucconi from Massimo Bontempelli’s comedy Nostra Dea. The opera features several unusual characteristics. First of all, it belongs to the genre of opera-buffa, which composers of the time generally sought to avoid. The choice of basing the opera on an almost contemporary pièce, moreover, ran against the general trend of composing old-fashioned operas; and, finally, Malipiero stuck to his own musical conception in using twelve-tone technique, at that time deemed to be irrelevant to comic theatre. However, dodecaphony as it is employed in La donna è mobile is quite distant from Schönberg’s notion: Malipiero rejects the idea of musical elaboration, rather using tone rows as fixed melodic structures. Twelve-note composition is used for dramatic purposes instead of structural ones, since tone rows are employed as Leitmotiv in order to portray characters. Furthermore, in La donna è mobile not only twelve-tone composition, but nearly every element of modernity is softened by more traditional compositional solutions, although this is done with parodistic, even mocking intent. The opera, as some reviews of the première in Milan point out, cannot be regarded as a model for a new conception of comic musical theatre, but rather as the last specimen of a past genre.

O presente trabalho de dissertação tem como objetivo a análise de assuntos tratados em comum por Friedrich Nietzsche e Richard Wagner, sobretudo no que diz respeito ao drama musical grego e seus desdobramentos na criação de Wagner e na respectiva análise nietzschiana desta, qual em parte está voltada ás implicações de tal drama e das obras wagnerianas na modernidade.

Tosca is the second hefty, international production by director Celil Toksöz (Theater RAST), which he produces through partnership with actors, singers, and musicians from the City Theatre in Diyarbakır (today called, Amed Şehir Tiyatrosu). Just like in his Hamlet adaptation of 2012, he puts the Kurdish language and music centre stage, since for decades they were forbidden in his birthplace Turkey. Today he achieves this by enhancing Puccini’s most political opera with the poetry of Kurmanji (Kawa Nemir) and the music of Mesopotamia (Ardaşes Agoşyan). This people’s opera from 1900 becomes then an interweaving of different cultures, with a political topicality and symbolism that is never very far away.

The story of Bartók's pantomime is usually understood as the clash between the cold-blooded brutality of the city – represented by the tramps – and the force of primeval passion – represented by the mandarin. Within these opposing forces stands the girl – whose character, however, is not obvious. In the first complete manuscript version (piano four-hand), immediately before the ending of the piece, there existed a scene depicting a confrontation between the girl and the tramps. This scene, whose main actor is the girl, is crucial for the drama and reveals Bartók's view with regard to the girl's character. Yet when Bartók began orchestrating the work in 1924, he deleted this scene. The present article provides, for the first time, an in-depth analysis as well as dramatic interpretation of this scene. Considering also the original text by Menyhért (Melchior) Lengyel (which contains this scene) and the totality of the final version of Bartók's pantomime , the article proposes a characterization for the girl and offers a hypothesis for the dramatic meaning of the final work which was the reason for the omission of this scene from the final version.

Tosca, yönetmen Celil Toksöz’ün (RAST Tiyatrosu), Diyarbakır Şehir Tiyatrosu (bugünkü adıyla Amed Şehir Tiyatrosu) oyuncu, şarkıcı ve müzisyenleri ile işbirliği içinde ürettiği ikinci güçlü uluslararası prodüksiyondur. 2012 tarihli Hamlet adaptasyonunda olduğu gibi, Toksöz bir kere daha, doğduğu ülkede baskı altına alınmış olan Kürt dili ve müziğini sahnenin merkezine alıyor. Bu kez, Puccini’nin en politik operasını Kurmanci’nin şiirselliği (Kawa Nemir) ve Mezopotamya’nın müziğiyle (Ardaşes Agoşyan)  zenginleştirme yolunu seçiyor. Böylelikle, 1900 yılına ait bu halk operasında farklı kültürler ve semboller güncel siyasetin gölgesinde iç içe geçiyor.

El presente ensayo propone analizar, en el marco del bicentenario de la independencia de México y Centroamérica (1821-2021), cómo la composición musical y el diseño sonoro son utilizados como herramientas publicitarias para popularizar el imaginario que los grupos hegemónicos consideran pertinentes para cada nación. En su momento requirieron de la invención de la “música nacional”, ahora necesitan “audio branding” para la “marca país” que promocionan en el mercado empresarial transnacional. El análisis propuesto se realizará a partir de los estudios sonoros decoloniales, eligiendo obras costarricenses que conservan testimonios con el fin de examinar las contradicciones de los ideales nacionalistas, así como sus repercusiones en la vida cotidiana.