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The Recapitulation

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The Ravel Trilogy posited that Ravel was influenced by personal experience of conflict, each piece explored how his post-war music performed commemoration of war, whilst exhibiting traits of the onset of his dementia. This chapter offers reflections on the trilogy in relation to themes including ‘growing’ and ‘othering’, ‘commemorating’ and ‘memorializing. Addressing our central research question, how to ‘stage scores’, we consider Ravel's scores as situated in the context of their composition post-First World War, emerging into post-conflict performance and cultural acts of ‘memoricide’.

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
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The Recapitulation
Intellect , 199 (2024); https://doi.org/10.1386/9781789389333_13
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References

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References

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  2. Barba, Eugenio (1985), ‘The nature of dramaturgy: Describing actions at work’, New Theatre Quarterly, 1:1, pp. 75–78.
     [Google Scholar]
  3. Bharucha, Rustom (2014), ‘Hauntings of the intercultural: Enigmas and lessons on the borders of failure’, in E. Fischer-Lichte , T. Jost , and S. I. Jain (eds), The Politics of Interweaving Performance Cultures: Beyond Postcolonialism, London, New York: Routledge, pp. 179–200.
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  4. Bonshek, Corinna (2006), ‘Interdisciplinarity and vocal performance in Australian contemporary music theatre’, Contemporary Music Review, 25:4, pp. 341–51.
     [Google Scholar]
  5. Classic FM (n. d.) , ‘Ravel: 15 facts about the great composer’, Classic FM, https://www.classicfm.com/composers/ravel/guides/ravel-15-facts/. Accessed 25 October 2022 .
  6. Crossley, Tracey and Woods, Niki (2018), Making Postdramatic Theatre: A Handbook of Devising Exercises, London: Digital Theatre Plus.
     [Google Scholar]
  7. Curtin, Adrian (2019), ‘Orchestral theatre and the concert as a performance laboratory’, New Theatre Quarterly, 35:4, pp. 291–311.
     [Google Scholar]
  8. Donia, Robert J. (2006), Sarajevo – A Biography, London: Hurst and Company.
     [Google Scholar]
  9. Duchen, Jessica (2017), ‘How Schumann's suppressed violin concerto made history – And the ideal subject for a novel’ [online], The Strad, 29 September, https://www.thestrad.com/debate/how-schumanns-suppressed-violin-concerto-made-history-and-the-ideal-subject-for-a-novel/7160.article. Accessed 10 May 2022 .
  10. Etchells, Tim (2004), ‘A six-thousand-and-forty-seven-word manifesto on liveness in three parts with three interludes’, in A. Heathfield (ed.), Live: Art and Performance, London: Tate Publishing, pp. 210–17.216
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     [Google Scholar]
  12. Klaic, Dragan (2002), ‘The crisis of theater? The theater of crisis!’, in M. M. Delgado and C. Svich (eds), Performance Manifestations for a New Century, Manchester: Manchester University Press, pp. 144–59.
     [Google Scholar]
  13. Lehmann, Hans-Thies (2006), Postdramatic Theatre (trans. K. Jurs-Munby), London, New York: Routledge.
     [Google Scholar]
  14. MacDonald, Claire (2010), ‘Conducting the flow: Dramaturgy and writing’, Studies in Theatre and Performance, 30:1, pp. 91–100.
     [Google Scholar]
  15. Machon, Josephine (2013), Immersive Theatres: Intimacy and Immediacy in Contemporary Performance, Basingstoke: Palgrave Macmillan.
     [Google Scholar]
  16. Nichols, Roger (2011), Ravel, Yale: Yale University Press.
     [Google Scholar]
  17. Pavis, Patrice (2012), ‘Dramaturgy and postdramaturgy’, Dico, University of Ghent, 12 April, https://www.jstr.org/project/images/01Pavis.doc. Accessed 8 May 2015 .
  18. Pearson, Mike (2010), Site-Specific Performance, London: Palgrave Macmillan.
     [Google Scholar]
  19. Pinchbeck, Michael and Egan, Kevin (2022), ‘Staging scores: Devising contemporary performances from classical music’, Open Library of Humanities, 8:1, pp. 1–30.
     [Google Scholar]
  20. Pinchbeck, Michael and Westerside, Andrew (2018), Staging Loss: Performance as Commemoration, London, New York: Palgrave.
     [Google Scholar]
  21. Pinchbeck, Michael and Lewis, Sarah (2015), ‘Bolero’, in K. Burnett (ed.), Make Believe: UK Design for Performance, 2011–2015, London: The Society of British Theatre Designers, p. 109.
     [Google Scholar]
  22. Rebstock, Matthias and Roesner, David (2012), Composed Theatre, Aesthetics, Practices, Processes, Bristol: Intellect.
     [Google Scholar]
  23. Turner, Edith (2009), Communitas: The Anthropology of Collective Joy, Basingstoke: Palgrave Macmillan.
     [Google Scholar]
  24. White, Gareth (2013), Audience Participation in Theatre: Aesthetics of the Invitation, Basingstoke: Palgrave Macmillan.
     [Google Scholar]

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