Music on Stage Volume 2
Performance by its very nature embraces many constituents, the theories of which have developed into discreet disciplines as on-going research deepens our understanding and knowledge of each one of them. Concomitantly, there continues to grow a greater interlinking, fusion and blurring of discreet boundaries between traditional genres – features highlighted in the seventeen papers presented here. Topics explored in this volume include: the intermedial performance of the Irrepressibles and electronically controlled sounds on the concert platform; the ways in which the physical body dictates movement and character and how the embodiment of the voice goes beyond character stereotypes; how Romeo Catellucci legitimized the audience’s gaze whilst staging brain-damaged patients; interculturalism in a new operatic work focusing on the current Israeli-Palestinian crisis; interrogating transgenerational depictions of Otherness in the Rocky Horror Show; musical speech in Iannis Xenakis’ reworking of ancient Greek in his Oresteia; genre conflation in terms of unaccompanied monodrama; trans-genre adaptation in Strauss’s Der Rosenkavalier and Philip Glass’s “Cocteau trilogy”; and textual and musical comedy in Ligeti’s Le Grand Macabre, among others.
Dr Luis Campos is an artist, researcher and lecturer. He lectures in European Theatre Arts at Rose Bruford College of Theatre and Performance, UK. He has performed and directed in Spain, the US and the UK, and has taught in New York City, Bilbao and London. Luis is one of the convenors of the Scenography Working Group at the Theatre and Performance Research Association (TaPRA) and a Fellow of the Higher Education Academy.
Dr Fiona Jane Schopf is Programme Director of Opera Studies at Rose Bruford College of Theatre and Performance, UK, and Fellow of the Higher Education Academy. She has lectured widely throughout the UK and has published articles on Wagner and Krenek. She founded the biennial “Music on Stage” conference series in 2006.
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Brian A. Inglis
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