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Jak zgubić własny cień? Nawiedzenie przeszłością i przyszłością w musicalu Mozart!

100%

Golonka M.

Facta Ficta. Journal of Theory, Narrative & Media

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2018

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vol. 1

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issue 1

36-53

EN

In the article How to Get Rid of Your Shadow? Hauntings of Past and Future in »Mozart!« the Musical, Marek Golonka utilizes the aforementioned play to present his interpretation of the artistic work of its librettist, Michael Kunze. Golonka describes Kunze’s artistic career-particularly his musicals-and points at his persistence in showing historical figures as haunted by metaphorical characters designed to comment on their situation and reflect on their personality.The central point of the paper is the analysis of Mozart!’ s most prominent storytelling device-the split of Wolfgang Amadeus Mozart into two characters: adult, contemporarydressed Wolfgang, and the child Amadé, dressed to resemble Mozart’s most iconic portraits. In this duo, Wolfgang is visible to the outside world and represents Mozart’s social and emotional needs, whilst Amadé, incorporating Mozart’s talent and creative needs, is visible only to his adult counterpart. Golonka interprets this split as an attempt to show Mozart both as a gifted individual and an Everyman close to the audience. He also points at how this split shows the conflict between Mozart’s own needs and the standards of his father. By analyzing scenes that show Amadé’s haunting presence as a burden for Wolfgang, Golonka reconstructs Kunze’s interpretation of Mozart’s life as a struggle against his own creative discipline that sometimes grows to an all-encompassing obsession.

2

Karlheinz Stockhausen’s stage cycle Licht. Musical theatre of the world

58%

Draus A.

Interdisciplinary Studies in Musicology

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2009

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issue 8

217-226

PL

The main idea of the paper is a presentation of the stage cycle Licht, absorbing the composer for over one-third of his active creative life. The question arises as to the generic affiliation of Stockhausen’s opus magnum: close to operatic works by Luciano Berio and Mauricio Kagel or to pop productions of works by Philip Glass? Analysing the subject matter and content of Licht, as well as its message and the means of expression employed, it is difficult not to discern the unification, within a single work, of what might appear to be contrasting musical genres and kinds of theatre (mystery play, expressionist drama, happening). It is worth remembering that the composer himself does not employ any specific generic term except for Opernzyklus. He often, however, refers to the forms and genres of theatre, cultivated in many different parts of the world, which have inspired him (e.g. in Malaysia, Japan, Bali, the USA), and he admits to the evolution of his views on faith. Can the substance of Licht be reduced to a common denominator? Can the heptalogy be called ‘sacred’ theatre? Or - on the contrary - an extremely profane, ‘pagan’ avant-garde spectacle?

3

Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces

51%

Desmet C.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2017

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vol. 15

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issue 30

15-26

EN

This essay examines the phenomenon of cross-cultural Shakespearean “traffic” as an import/export “business” by analyzing the usefulness of the concept crosscultural through a series of theoretical binaries: Global vs. Local Shakespeares, Glocal and Intercultural Shakespeare; and the very definition of space and place within the Shakespearean lexicon. The essay argues that theoretically, the opposition of global and local Shakespeares has a tendency to collapse, and both glocal and intercultural Shakespeares are the object of serious critique. However, the project of cross-cultural Shakespeare is sustained by the dialectic between memorialization and forgetting that attends all attempts to record these cross-cultural experiences. The meaning of crosscultural Shakespeare lies in the interpreter’s agency.

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1 Facta Ficta. Journal of Theory, Narrative & Media

1 Interdisciplinary Studies in Musicology

1 Multicultural Shakespeare: Translation, Appropriation and Performance

1 Desmet C.

1 Draus A.

1 Golonka M.

1 2018

1 2017

1 2009

Jak zgubić własny cień? Nawiedzenie przeszłością i przyszłością w musicalu Mozart!

Karlheinz Stockhausen’s stage cycle Licht. Musical theatre of the world

Import/Export: Trafficking in Cross-Cultural Shakespearean Spaces