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- Following the Score
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The Exposition
- Authors: Michael Pinchbeck1, Ollie Smith2
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View Affiliations Hide AffiliationsAffiliations: 1 Manchester Metropolitan University 2 University of Lincoln
- Source: Following the Score , pp 1-9
- Publication Date: April 2024
- DOI: https://doi.org/10.1386/9781789389333_1
- Language: English
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‘The Exposition’ outlines motivations for writing and editing this book about The Ravel Trilogy (2014–18). It specifically examines intersections between music, theatre and scores, reframing definitions of immersive performance towards an immersive musicology. This chapter introduces methodologies and practical techniques utilized in the devising of The Ravel Trilogy, and analyzes the dynamic relationship between music and theatre. It explores notions of scoring theatre from musical scores and how the work belongs to the emergent genres of concert theatre, composed theatre, and orchestral theatre.
We follow the tripartite structure of Exposition/Development/Recapitulation. ‘The Exposition’ is our introduction to the work's themes, and the themes of each contributor's response to it. ‘The Development’ refers to our reflections on the development of each performance, with specific reference to their departure from the musical scores. ‘The Recapitulation’ is our return to the themes explored by the work and our attempt to form a conclusion.
Keywords: Classical music ; Composed theatre ; Composition ; Concert theatre ; Devised theatre ; Dramaturgy ; Immersive theatre ; Musical scores ; Musicology ; Narrative ; Orchestral theatre ; Performance ; Performance scores ; Postdramatic ; Score theatre
Hardback ISBN:
9781789389333
The Exposition
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References
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Curtin, Adrian (2019), ‘Orchestral theatre and the concert as a performance laboratory’, New Theatre Quarterly, 35:4, pp. 291–11.
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Kirby, Michael (1972), ‘On acting and not-acting’, The Drama Review: TDR, 16:1, pp. 3–15.9
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Lavery, Carl (2009), ‘Is there a text in this performance?’, Performance Research, 14:1, pp. 37–45.
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Pearson, Mike (1997), ‘Special worlds, secret maps: A poetics of performance’, in A. Taylor (ed.), Staging Wales: Welsh Theatre 1979–1997, Cardiff: University of Wales Press.
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Rebstock, Matthias and Roesner, David (2012), Composed Theatre: Aesthetics, Practices, Processes, Bristol: Intellect.
[Citing articles]
[Web of Science]
[Medline]
References
-
Curtin, Adrian (2019), ‘Orchestral theatre and the concert as a performance laboratory’, New Theatre Quarterly, 35:4, pp. 291–11.
-
Kirby, Michael (1972), ‘On acting and not-acting’, The Drama Review: TDR, 16:1, pp. 3–15.9
-
Lavery, Carl (2009), ‘Is there a text in this performance?’, Performance Research, 14:1, pp. 37–45.
-
Pearson, Mike (1997), ‘Special worlds, secret maps: A poetics of performance’, in A. Taylor (ed.), Staging Wales: Welsh Theatre 1979–1997, Cardiff: University of Wales Press.
-
Rebstock, Matthias and Roesner, David (2012), Composed Theatre: Aesthetics, Practices, Processes, Bristol: Intellect.
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