2014 | 63 | 1-2(249-250) | 278-288
Article title

Recenzja książki Muzyczność w dramacie i teatrze, pod red. Elżbiety Rzewuskie i Jarosława Cymermana (Lublin, 2013)

Title variants
Book Review Muzyczność w dramacie i teatrze, ed. Elżbieta Rzewuska and Jarosław Cymerman (Lublin, 2013)
Languages of publication
The review of Muzyczność w dramacie i teatrze, ed. Elżbieta Rzewuska and Jarosław Cymerman (Lublin: Wydawnictwo UMCS, 2013) has been devised as a fairly detailed overview of this valuable synthetic work. Since the work is a product of collective effort which entails its heterogeneous nature, a “cross-fire” strategy of description seems to be most effective. Hence, a linear description (most of the articles are dealt with separately) has been combined with a synoptic view to pinpoint the thematic dominants and offer some general comments. The participants in the project represent a wide range of research interests, which means that the articles collected in the book touch upon most of the ways in which musicality manifests itself in theatre and discuss various filiations and interferences between these two symbiotic and yet different media. Somewhat correlated with the chronological order of contents, basic aspects of how musicality functions in theatre are featured, including: musicality manifesting itself in discourse and prosody; musicality in the form of particular compositions or effects present in a text or show, or as a subject matter; musicality that results from projecting some structures characteristic for musical works onto a drama; and metaphysical musicality felt intuitively, resounding between words, or present in music-inspired references to the categories of harmony of the world and cosmos. The book starts with a body of texts with a theoretical strand that indicate some limitations of the area of research (i.e. incompatibility of concepts), its deficits (a lack of the musicologist view on theatre), phenomena that have not been researched yet (i.e. the history of librettos), and some peculiar fusion forms (Schaeffer’s theatre). Then the readers have a chance to look into numerous key elements of the broad array of musical interferences into the world of theatre. The basic groups of problems focus on such issues as opera and masque, Chekhov’s mood-evoking phrasing, the sounds of radio plays, music arranged for theatre shows, Kantorian rhythm, the musical spirit of the Gardzienice, reception of music by some theatre critics, and even campanology (functions of bells).
Physical description
  • Katolicki Uniwersytet Lubelski
  • P. Bogatyrev, Les signes du théâtre, „Poétique” 1978 nr 8.
  • M. Bristiger, Związki muzyki ze słowem, Warszawa 1986.
  • R. Debray, Introduction à la médiologie, Presses Universitaires de France, Paris 2000.
  • Groupe μ, Rhétorique de la poésie, Seuil, Paris 1990.
  • R. Ingarden, O funkcjach mowy w widowisku teatralnym, [w:]: Problemy teorii dramatu i teatru, Wrocław 2003.
  • J. M. Klinkenberg, Précis de sémiotique générale, De Boeck, Paris 2000.
Document Type
Publication order reference
YADDA identifier
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