Narrative and performative modalities in the Swedish opera-in-the-round

Drömmen om Thérèse

Författare

  • Johanna Ethnersson Pontara

Nyckelord:

Opera, performativity, narrativity, musicology

Abstract

The Swedish opera Drömmen om Thérèse (Dreaming about Thérèse) attracted national and international attention in the 1960s for its inventive approaches as an opera-in-the-round. Although this staging influenced the music’s functions, so far the music of this opera has been evaluated in accordance with the hegemony of narrative opera. Drömmen om Thérèse, however, offers an example of a contemporary fascination with exploring the spaces between borders, for instance, high versus popular culture and event performance versus recording. This article shows how the performative level of music in opera here acquires a particular quality through the incorporation of the devices of pluralism of styles, music in space and instrumental theatre. Rather than intoxication, the narrative-disrupting effect consists of a theatrical alienation. A relationship between performance and audience based on intimacy, equality, and reflection contributes to this effect.

Författarbiografi

Johanna Ethnersson Pontara

Johanna Ethnersson Pontara is associate professor of musicology at the Department of Musicology and Performance Studies, Stockholm University. She has specialized in the study of early eighteenth-century opera from interdisciplinary perspectives, with particular emphasis on Performance Theory and Gender Studies. Her current long-term project is The Baroque as Aesthetics and as Experiment in Opera Post 1960s; Lars Johan Werle’s Operatic Production Analysed and Interpreted from the Concept of Performativity.

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Publicerad

2014-12-01

Referera så här

Ethnersson Pontara, J. (2014). Narrative and performative modalities in the Swedish opera-in-the-round: Drömmen om Thérèse. Svensk Tidskrift för Musikforskning Swedish Journal of Music Research, 96, 1–21. Hämtad från https://publicera.kb.se/stm-sjm/article/view/33766

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