1981
Volume 4, Issue 1
  • ISSN: 1750-3159
  • E-ISSN: 1750-3167

Abstract

Using a production of Euripides' I supervised and directed at the Universitt Hildesheim in 2004 as a main example, this article seeks to explore in which ways making music (or better, in Christopher Small's term, musicking) can become a central dramaturgical, narrative and performative driver of the mise-en-scne. In the given case it resulted in a hybrid of performative genres and contained elements of a concert, an installation, a story-telling event, straight theatre and chorus recitation. Through this hybridization the production questioned the nature of the following relationships: (1) Music/stage: the production stretched the notion of music on stage to music with the stage. The stage was equally a performative space, a sound box and sonic space. (2) Performer/character: the production questioned the role of the performers who continually oscillated between being actors, narrators, chorus and musicians. Musicking became performative action and vice versa. (3) Performance/narrative: musicking, spatial design, visual imagery and the audience's interpretative reception intertwined to introduce forms of theatrical narrative that I will argue to be emergent.

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/content/journals/10.1386/smt.4.1.89_1
2010-08-01
2023-02-08
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http://instance.metastore.ingenta.com/content/journals/10.1386/smt.4.1.89_1
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  • Article Type: Article
Keyword(s): emergence; Euripides; hybridity; musician performer; musicking; narrativity
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