Title: Singing in the blend: stagings of Verdi's operatic Shakespeare in the Czech Republic after 1989
Source document: Theatralia. 2021, vol. 24, iss. Special Issue, pp. 189-208
Extent
189-208
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2021-S-14
Stable URL (handle): https://hdl.handle.net/11222.digilib/143681
Type: Article
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
The article deals with changes in creating scenography for productions of operas based on plays by William Shakespeare in former Czechoslovakia and the Czech Republic after 1989. The article discusses the procedure of a multimodal analysis of scenography based on blending theory approach. The 1991 production of Verdi's Otello of the Prague State Opera directed by Dominik Neuner and revived in 2009 by Lubor Cukr is used as an example of creating scenographic space for operatic Shakespeare. The scenography is understood as not only visual but multimodal component of theatrical performance. Vladimír Nývlt's concept of scenography for the Otello production is treated from the perspectives of multimodal analysis and examined in the context of other productions of operatic Shakespeare in the Czech Republic after 1989.
References
[1] BARSALOU, Lawrence W. 1999. Perceptual Symbol Systems. Behavioral and Brain Sciences 22 (August 1999): 4: 577–660. | DOI 10.1017/S0140525X99002149
[2] BENEŠOVÁ, Věra. 1991. Otello ve Smetanově divadle [Otello in Smetana's Theatre]. Zemědělské noviny (27. 10. 1991).
[3] COOK, Amy. 2010. Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Text and Performance through Cognitive Science. New York: Palgrave Macmillan, 2010.
[4] DANCYGIER, Barbara. 2016. Multimodality and Theatre: Material Objects, Bodies and Language. In Rhonda Blair and Amy Cook (eds.). Theatre, Performance and Cognition: Languages, Bodies and Ecologies. New York: Bloomsbury, 2016: 21–39.
[5] FAUCONNIER, Gilles. 1994. Mental Spaces: Aspects of Meaning Construction in Natural Language. Cambridge: Cambridge University Press, 1994.
[6] FISCHER, Burton D. 2001. Verdi's Otello. Miami: Opera Journeys Publishing/Coral Gables, 2001.
[7] FORCEVILLE, Charles and Eduardo URIOS-APARISI (eds.). 2009. Multimodal Metaphor. Berlin and New York: Mouton de Gruyter, 2009.
[8] FORCEVILLE, Charles. 2009. Non-verbal and Multimodal Metaphor in a Cognitivist Framework: Agendas for Research. In Charles Forceville and Eduardo Urios-Aparisi (eds.). Multimodal Metaphor. Berlin and New York: Mouton de Gruyter, 2009: 19–40.
[9] HAVLÍČKOVÁ KYSOVÁ, Šárka. 2016. Stage Metaphors in Verdi's Otello: Miloš Wasserbauer's production in State Theatre in Brno (1967) in the Context of the Opera Staging Tradition. Theatralia 19 (2016): 2: 29–58. | DOI 10.5817/TY2016-2-2
[10] HAVLÍČKOVÁ KYSOVÁ, Šárka. 2021. Audio-visual Metaphors in Operatic Shakespeare: Verdi's Macbeth and Otello in Czech Theatres. In Christopher Wilson and Mervyn Cooke (eds.). Oxford Handbook of Shakespeare and Music. Oxford: Oxford University Press, 2021, forthcoming.
[11] HRDINOVÁ, Radmila. 2009. Zůstala forma, vytratil se obsah [Only the Form Remains, The Content is Lost]. Právo (30. 5. 2009): 24.
[12] JINDRA, Vladimír. 1983. Specificity of Scenography. Prague: Theatre Institute, 1983.
[13] LAKOFF, George and Mark JOHNSON. 1980. Metaphors We Live By. Chicago and London: University of Chicago Press, 1980.
[14] LUTTERBIE, John. 2011. Towards a General Theory of Acting. Cognitive Science and Performance. New York: Palgrave Macmillan, 2011.
[15] MCCONACHIE, Bruce. 2008. Engaging Audiences. A Cognitive Approach to Spectating in the Theatre. New York: Palgrave Macmillan, 2008.
[16] PIKLI, Natália. 2020. 'Mobled Queens' and 'Dunghill Idiots': The Trojan War as Metatheatre and Parody. 37th International Shakespeare Conference 'Shakespeare and War', 22–27 July 2020, Stratford-upon-Avon.
[17] REITTEREROVÁ, Vlasta. 2009. Láska, moc a žárlivost [Love, Power, and Jealousy]. Hudební rozhledy (1. 7. 2009): 37.
[18] SERESS, Ákos. 2012. Playing with Blends. Theatre Studies and Cognitive Science. Apertúra 2012. [accessed on 31.05.2020]. Available online at https://www.apertura.hu/2012/osz/seress-playing-with-blends-theatre-studies-and-cognitive-science/.
[19] STOCKWELL, Peter. 2020. Cognitive Poetics. An Introduction. Oxon: Routledge, 2020.
[20] ŠIMKOVÁ, Dana. 2010. Otello – v hlavní roli Jago a Desdemona [Otello – Jago and Desdemona as Main Characters]. Operadream.blogspot.com (26. 8. 2010).
[21] ŠPERGL, Petr. Kámen jako symbol zla [A Stone as a Symbol of Evil]. Český deník (22. 11. 1991).
[22] TURNER, Mark and Gilles FAUCONNIER. 2002. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. New York: Basic Books, 2002.
[23] VERDI, Giuseppe. Otello 2009 [DVD, performance recorded 29.01.2015]. Prague: National Theatre Prague, 2015. Stored at the NT Prague Archive.
[24] ZBIKOWSKI, Lawrence M. 2017. Foundations of Musical Grammar. New York: Oxford University Press, 2017.
[2] BENEŠOVÁ, Věra. 1991. Otello ve Smetanově divadle [Otello in Smetana's Theatre]. Zemědělské noviny (27. 10. 1991).
[3] COOK, Amy. 2010. Shakespearean Neuroplay: Reinvigorating the Study of Dramatic Text and Performance through Cognitive Science. New York: Palgrave Macmillan, 2010.
[4] DANCYGIER, Barbara. 2016. Multimodality and Theatre: Material Objects, Bodies and Language. In Rhonda Blair and Amy Cook (eds.). Theatre, Performance and Cognition: Languages, Bodies and Ecologies. New York: Bloomsbury, 2016: 21–39.
[5] FAUCONNIER, Gilles. 1994. Mental Spaces: Aspects of Meaning Construction in Natural Language. Cambridge: Cambridge University Press, 1994.
[6] FISCHER, Burton D. 2001. Verdi's Otello. Miami: Opera Journeys Publishing/Coral Gables, 2001.
[7] FORCEVILLE, Charles and Eduardo URIOS-APARISI (eds.). 2009. Multimodal Metaphor. Berlin and New York: Mouton de Gruyter, 2009.
[8] FORCEVILLE, Charles. 2009. Non-verbal and Multimodal Metaphor in a Cognitivist Framework: Agendas for Research. In Charles Forceville and Eduardo Urios-Aparisi (eds.). Multimodal Metaphor. Berlin and New York: Mouton de Gruyter, 2009: 19–40.
[9] HAVLÍČKOVÁ KYSOVÁ, Šárka. 2016. Stage Metaphors in Verdi's Otello: Miloš Wasserbauer's production in State Theatre in Brno (1967) in the Context of the Opera Staging Tradition. Theatralia 19 (2016): 2: 29–58. | DOI 10.5817/TY2016-2-2
[10] HAVLÍČKOVÁ KYSOVÁ, Šárka. 2021. Audio-visual Metaphors in Operatic Shakespeare: Verdi's Macbeth and Otello in Czech Theatres. In Christopher Wilson and Mervyn Cooke (eds.). Oxford Handbook of Shakespeare and Music. Oxford: Oxford University Press, 2021, forthcoming.
[11] HRDINOVÁ, Radmila. 2009. Zůstala forma, vytratil se obsah [Only the Form Remains, The Content is Lost]. Právo (30. 5. 2009): 24.
[12] JINDRA, Vladimír. 1983. Specificity of Scenography. Prague: Theatre Institute, 1983.
[13] LAKOFF, George and Mark JOHNSON. 1980. Metaphors We Live By. Chicago and London: University of Chicago Press, 1980.
[14] LUTTERBIE, John. 2011. Towards a General Theory of Acting. Cognitive Science and Performance. New York: Palgrave Macmillan, 2011.
[15] MCCONACHIE, Bruce. 2008. Engaging Audiences. A Cognitive Approach to Spectating in the Theatre. New York: Palgrave Macmillan, 2008.
[16] PIKLI, Natália. 2020. 'Mobled Queens' and 'Dunghill Idiots': The Trojan War as Metatheatre and Parody. 37th International Shakespeare Conference 'Shakespeare and War', 22–27 July 2020, Stratford-upon-Avon.
[17] REITTEREROVÁ, Vlasta. 2009. Láska, moc a žárlivost [Love, Power, and Jealousy]. Hudební rozhledy (1. 7. 2009): 37.
[18] SERESS, Ákos. 2012. Playing with Blends. Theatre Studies and Cognitive Science. Apertúra 2012. [accessed on 31.05.2020]. Available online at https://www.apertura.hu/2012/osz/seress-playing-with-blends-theatre-studies-and-cognitive-science/.
[19] STOCKWELL, Peter. 2020. Cognitive Poetics. An Introduction. Oxon: Routledge, 2020.
[20] ŠIMKOVÁ, Dana. 2010. Otello – v hlavní roli Jago a Desdemona [Otello – Jago and Desdemona as Main Characters]. Operadream.blogspot.com (26. 8. 2010).
[21] ŠPERGL, Petr. Kámen jako symbol zla [A Stone as a Symbol of Evil]. Český deník (22. 11. 1991).
[22] TURNER, Mark and Gilles FAUCONNIER. 2002. The Way We Think: Conceptual Blending and the Mind's Hidden Complexities. New York: Basic Books, 2002.
[23] VERDI, Giuseppe. Otello 2009 [DVD, performance recorded 29.01.2015]. Prague: National Theatre Prague, 2015. Stored at the NT Prague Archive.
[24] ZBIKOWSKI, Lawrence M. 2017. Foundations of Musical Grammar. New York: Oxford University Press, 2017.