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PETER KONWITSCHNY’S MUSICOLOGICALLY ERUDITE OPERA DIRECTION

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2022
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vol. 70
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issue 3
256 – 269
EN
Besides the left-wing commitment of their ideological interpretations, the productions of the German director Peter Konwitschny are characterized by the appearance of some recognizable, constantly occurring signs which have acquired the semantic meaning of isotopies during the almost four decades of his opera directing activities. In this study, the author focuses on the procedures typical of the director’s work, which are directly derived from the musical material of the staged scores. On the example of some selected productions, she demonstrates that, although Konwitschny often interprets operas in the context of their staging tradition provocatively, his musicological erudition enhances the ideological and aesthetic values of his directorial argumentation.
2

'THE FOUNDERS OF TRADITION' IN ARIANE MNOUCHKINE'S LABORATORY

100%
Hasiuk M.
Przegląd Humanistyczny
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2005
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vol. 39
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issue 2(389)
87-100
EN
Théâtre du Soleil belongs to the European tradition of theatres-labs with its connections with various traditions and not only theatrical conventions, both in the poetics of the shows, their preparations, and in the way the group of actors functions. Jacques Copeau and his followers: Charles Dullin, Jacques Lecoq and Jean Vilar provide inspiration for her. Like them, she uses oriental tradition, open air theatre, the clown figure, classical tragedy, but also the 'no' theatre, kabuki, kathakali and Beijing opera. She matches Elizabethan theatre with Orient, contemporary subjects with commedia dell'arte and Greek tragedy, each of them naturally belonging to separate aesthetics. She does not identify with any of them in particular. However, transforming all of them, she creates her own identity. Like Jerzy Grotowski and Eugenio Barba, she is a founder of tradition for future artists in search of lands of imagination and the meaning of theatricality.
3
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UMELECKÉ ŤAŽENIE REŽISÉRA PETRA KONWITSCHNÉHO PROTI „MŔTVEJ OPERE“

100%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2019
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vol. 67
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issue 4
335 – 352
EN
The text deals with selected principles of the work of the German opera director Peter Konwitschny (1945). The lifelong ambition of an artist who openly proclaims a left-wing orientation is to distract the audience from consuming indulgence in beautiful music and make them a socially responsible, thoughtful participant in his productions. He has created, during his half-century career, a stable database of isotopes through which he fulfils his ideas, from curtain up in the auditorium to solutions resembling immersive theatre strategies. The author presents examples from several productions that Peter Konwitschny has directed on European stages, including the Slovak National Theatre in Bratislava.
4
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DRAMATURGICKO-INSCENAČNÝ PROFIL SÚČASNÉHO SLOVENSKÉHO OPERNÉHO DIVADLA

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Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2013
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vol. 61
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issue 3
219 – 225
EN
This paper deals with the dramaturgical and staging profile of the three Slovak opera theatres – The Opera of the Slovak National Theatre, the State Opera in Banská Bystrica and the Opera of the State Theatre in Košice – in the period of 1990 – 2013. It was already in the early stages of the building of a new social system that Slovak opera theatres discovered the need for profitability of their production. Especially the theatre in Košice, but also the one in Bratislava, therefore gave preference to the repertory that had the potential to become popular with their audiences and to neutral production poetics creating the illusion of reality. On the other hand, Banská Bystrica chose a different way, that of dramaturgical exclusivity and innovativeness, which secured it the reputation of the most ambitious Slovak opera theatre. The first decade of the new millennium in Bratislava was marked by the effort to achieve dramaturgical and staging diversity and the ambition to get integrated into the Central European context. However, beginning with Sylvia Hroncová holding the post of the general director, the theatre went through an internal crisis caused by the frequent turnover of opera directors. After years of searching and subsequent stabilization in the spirit of conservative aesthetical and dramaturgical preferences embodied in the personality of Peter Dvorský, Košice appears to have been experiencing a turn to more ambitious dramaturgy in the last two seasons under the direction of Karol Kevický as the art director and Linda Keprtová as the chief dramaturge.
5
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BIBLICAL AND RELIGIOUS THEMES IN ROMEO CASTELLUCCI’S SELECTED OPERA AND MUSIC THEATRE STAGINGS

88%
Mojžišová M.
Slovenské divadlo (Slovak Theatre)
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2021
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vol. 69
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issue 3
258 – 276
EN
This text deals with the opera (music theatre) stage performances of the Italian theatre maker Romeo Castellucci. The author calls attention to the artist’s interpretation of operas or other works of music with a Biblical and religious background. On the example of four productions (Alessandro Scarlatti: Il primo omicidio, Richard Strauss: Salome, Wolfgang Amadeus Mozart: Requiem, Arthur Honegger: Jeanne d´Arc au bûcher), she examines how Castellucci stages themes that form the objects of religious dogmas. In this study, the term dogma is not meant in a negative sense (i.e., as a limited, unilateral, manipulative interpretation), but is perceived in its original etymological sense, as a binding, normative statement in the field of faith.
6
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FERRUCCIO BUSON'S THEORETICAL APPROACH TO OPERA THEATRE

88%
Gmys M.
Muzyka
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2004
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vol. 49
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issue 1(192)
53-77
EN
At the beginning of this article the author draws attention to the fact that during recent years a sizeable body of so far totally unknown source material concerning Busoni has come to light, which makes it possible to carry out a much fuller reconstruction of his views on opera theatre than was possible only a few years earlier. Busoni was constructing his poetics of opera theatre above all in opposition to veristic aesthetics and to the musical drama of Wagner. His hostility towards verism was closely linked to his enthusiasm for the work of German Romantic ironists, in particular E.T.A. Hoffman. Although Busoni never made it clear directly, he adopted from the latter the seraphionic principle, which consisted in intertwining closely the fairy-tale element with the 'real' life of the characters in operatic librettos. As an opponent of verism, Busoni rejected the inclusion in librettos plots with erotic themes (he was of the opinion that eroticism belongs to life, and not art), and as a consequence of this view he rejected the convention of the love duet. Referring to Busoni's division of opera into the 'magic mirror' and the 'mirror of laughter', the author shows that in case of the latter type, the inspiration for it was probably provided by the well known essay by Ch. Baudelaire 'De l'essence du rire', which sketches out the idea of comique absolu. The main aspects of Busoni's views on the construction of opera librettos were the significance attached to the problem of manipulating keywords (Schlagwort), and the postulate of giving the dramatic action a fragmentary character. Chronological gaps caused by adopting this principle should be filled in by the music which, according to Busoni, should also carry other important dramatic functions. The most important of these were to concentrate the composer's efforts on revealing the inner psychological landscape of the particular dramatis personae, and to renounce trying to illustrate the events visible on the stage. The second of these postulates was closely linked to the suggestion that music, as far as possible, should include in its influence also events taking place beyond the stage area (in such a case its function might be described as analogous to teichoscopy). Busoni was a declared opponent of the concept of 'leitmotif' and 'unendliche Melodie', put forward by Wagner. In place of the rejected leitmotif, which ensured dramatic-musical unity in the operas of Wagner and his imitators, Busoni recommended the introduction of forms typical for absolute music (e.g. a cycle of variations or a dance suite), which should guarantee dramatic-musical cohesion of particular scenes and even acts (if one admits this postulate to be one of the most momentous ones, one could attach the label of 'absolute opera' to the concept of opera created by Busoni). In his writings Busoni also devoted some attention to the theatrical aspects of opera performance. One of the most important statements in this area is the claim that the singer should perform his part in such a manner as to continuously remind the audience of the artificial character of the actions undertaken and in this way to keep destroying the stage illusion. Levelling out of the effect of the so-called fourth wall was intended to stimulate the audience towards independent thinking and, as a result, towards creating their own interpretations of the work. Busoni also thought that one way of saving the opera, which in his view was an ossified genre, was to re-theatricalise it. This could be done by linking it to, among others, the traditions of commedia dell'arte and dolls' theatre. In the case of the latter, Busoni was clearly influenced by the aesthetics of H. Kleist, but he enriched those ideas by some references to the concept of the doll put forward by R.M. Rilke and Vittorio Podrecca, the director of Teatro dei Piccoli, famous in the second decade of the twentieth century. At the end of the article the author indicates the works and the artists who were influenced by the theory proposed by Busoni. One of the most important pieces of evidence for its influence is the concept of the so-called Musikoper, i.e. an opera constructed using means typical for absolute music (The best known examples of such work are A. Berg's ' Wozzeck' and P. Hindemith's 'Cardillac', written at the same time as Busoni's unfinished 'Doktor Faust' (1918--1924), but the influence of similar thinking can also be discerned in the later 'Il Prigioniero' by Dallapiccola). The clearest imprint of Busoni's ideas on opera theatre is to be found both in the work and in the aesthetic formulated by K. Weill (a devoted pupil of Busoni), and in Brecht's concept of epic theatre, created as a result of adopting the views of the Italian thinker and composer. Traces of theatrical aspects of Busoni's ideas can also be seen in the one-act piece 'Der Mond' by C. Orff, a composer who during the 1940s used to appeal directly to the theories of the creator of Doktor Faust. One of the final manifestations of the fascination by Busoni's thought (but also his works for the stage) remains so far the chamber opera 'Faust und Yorick' (1976) by W. Rihm.
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