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Discussion concerning the 'musicality' of Samuel Beckett's writing
now constitutes a familiar critical trope in Beckett Studies, one
that continues to be informed by the still-emerging evidence of
Beckett's engagement with music throughout his personal and
literary life, and by the ongoing interest of musicians in
Beckett's work. In Beckett's drama and prose writings, the
relationship with music plays out in implicit and explicit ways.
Several of his works incorporate canonical music by composers such
as Schubert and Beethoven. Other works integrate music as a
compositional element, in dialogue or tension with text and image,
while others adopt rhythm, repetition and pause to the extent that
the texts themselves appear to be 'scored'. But what, precisely,
does it mean to say that a piece of prose or writing for theatre,
radio or screen, is 'musical'? The essays included in this book
explore a number of ways in which Beckett's writings engage with
and are engaged by musicality, discussing familiar and less
familiar works by Beckett in detail. Ranging from the scholarly to
the personal in their respective modes of response, and informed by
approaches from performance and musicology, literary studies,
philosophy, musical composition and creative practice, these essays
provide a critical examination of the ways we might comprehend
musicality as a definitive and often overlooked attribute
throughout Beckett's work.
Discussion concerning the 'musicality' of Samuel Beckett's writing
now constitutes a familiar critical trope in Beckett Studies, one
that continues to be informed by the still-emerging evidence of
Beckett's engagement with music throughout his personal and
literary life, and by the ongoing interest of musicians in
Beckett's work. In Beckett's drama and prose writings, the
relationship with music plays out in implicit and explicit ways.
Several of his works incorporate canonical music by composers such
as Schubert and Beethoven. Other works integrate music as a
compositional element, in dialogue or tension with text and image,
while others adopt rhythm, repetition and pause to the extent that
the texts themselves appear to be 'scored'. But what, precisely,
does it mean to say that a piece of prose or writing for theatre,
radio or screen, is 'musical'? The essays included in this book
explore a number of ways in which Beckett's writings engage with
and are engaged by musicality, discussing familiar and less
familiar works by Beckett in detail. Ranging from the scholarly to
the personal in their respective modes of response, and informed by
approaches from performance and musicology, literary studies,
philosophy, musical composition and creative practice, these essays
provide a critical examination of the ways we might comprehend
musicality as a definitive and often overlooked attribute
throughout Beckett's work.
Aesthetics of Absence presents a significant challenge to the many
embedded assumptions and hierarchical structures that have become
'naturalised' in western theatre production. This is the first
English translation of a new collection of writings and lectures by
Heiner Goebbels, the renowned German theatre director, composer and
teacher. These writings map Goebbels' engagement with 'Aesthetics
of Absence' through his own experience at the forefront of
innovative music-theatre and performance making. In this volume,
Goebbels reflects on works created over a period of more than 20
years staged throughout the world; introduces some of his key
artistic influences, including Robert Wilson and Jean-Luc Godard;
discusses the work of his students and ex-students, the collective
Rimini Protokoll; and sets out the case for a radical rethinking of
theatre and performance education. He gives us a rare insight into
the rehearsal process of critically acclaimed works such as
Eraritjaritjaka and Stifters Dinge, explaining in meticulous detail
the way he weaves an eclectic range of references from fine art,
theatre, literature, politics, anthropology, contemporary and
classical music, jazz and folk, into his multi-textured
music-theatre compositions. As an artist who is prepared to share
his research and demystify the processes through which his own
works come into being, as a teacher with a coherent pedagogical
strategy for educating the next generation of theatre-makers, in
this volume, Goebbels brings together practice, research and
scholarship.
Aesthetics of Absence presents a significant challenge to the many
embedded assumptions and hierarchical structures that have become
'naturalised' in western theatre production. This is the first
English translation of a new collection of writings and lectures by
Heiner Goebbels, the renowned German theatre director, composer and
teacher. These writings map Goebbels' engagement with 'Aesthetics
of Absence' through his own experience at the forefront of
innovative music-theatre and performance making. In this volume,
Goebbels reflects on works created over a period of more than 20
years staged throughout the world; introduces some of his key
artistic influences, including Robert Wilson and Jean-Luc Godard;
discusses the work of his students and ex-students, the collective
Rimini Protokoll; and sets out the case for a radical rethinking of
theatre and performance education. He gives us a rare insight into
the rehearsal process of critically acclaimed works such as
Eraritjaritjaka and Stifters Dinge, explaining in meticulous detail
the way he weaves an eclectic range of references from fine art,
theatre, literature, politics, anthropology, contemporary and
classical music, jazz and folk, into his multi-textured
music-theatre compositions. As an artist who is prepared to share
his research and demystify the processes through which his own
works come into being, as a teacher with a coherent pedagogical
strategy for educating the next generation of theatre-makers, in
this volume, Goebbels brings together practice, research and
scholarship.
In this fascinating study of Mozart's operas, Nicholas Till shows
that the composer was not a "divine idiot" but an artist whose work
was informed by the ideas and discoveries of the Enlightenment.
Examining the dramatic emergence of a modern society in
eighteenth-century Austria, the author draws on such famous writers
and thinkers of the time as Richardson, Voltaire, Rousseau, Kant,
Goethe, Schiller, and Blake to reappraise the history and meaning
of the Enlightenment and of Mozart's role within it. He evokes for
us the Vienna of the 1780s, a world of intense intellectual
argument, political debate, and religious inquiry, which deeply
influenced the philosophical content of Mozart's operas. From the
early La Finta Giardiniera, based on Richardson's Pamela, to Die
Entfuhrung aus dem Serail, designed to support the political aims
of Emperor Joseph II; from Le nozze di Figaro, a profound
exploration of marriage as a human and social institution, to the
post-Enlightenment Zauberflote, the operas bear witness to the
era's changing views and to Mozart's own quest for personal and
artistic identity.
With its powerful combination of music and theatre, opera is one of
the most complex and yet immediate of all art forms. Once opera was
studied only as 'a stepchild of musicology', but in the past two
decades opera studies have experienced an explosion of energy with
the introduction of new approaches drawn from disciplines such as
social anthropology and performance studies to media theory, genre
theory, gender studies and reception history. Written by leading
scholars in opera studies today, this Companion offers a
wide-ranging guide to a rapidly expanding field of study and new
ways of thinking about a rich and intriguing art form, placing
opera back at the centre of our understanding of Western culture
over the past 400 years. This book gives lovers of opera as well as
those studying the subject a comprehensive approach to the many
facets of opera in the past and today.
With its powerful combination of music and theatre, opera is one of
the most complex and yet immediate of all art forms. Once opera was
studied only as 'a stepchild of musicology', but in the past two
decades opera studies have experienced an explosion of energy with
the introduction of new approaches drawn from disciplines such as
social anthropology and performance studies to media theory, genre
theory, gender studies and reception history. Written by leading
scholars in opera studies today, this Companion offers a
wide-ranging guide to a rapidly expanding field of study and new
ways of thinking about a rich and intriguing art form, placing
opera back at the centre of our understanding of Western culture
over the past 400 years. This book gives lovers of opera as well as
those studying the subject a comprehensive approach to the many
facets of opera in the past and today.
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