Gehe einfach zum Kontobereich in den Einstellungen und klicke auf âAbo kĂŒndigenâ â ganz einfach. Nachdem du gekĂŒndigt hast, bleibt deine Mitgliedschaft fĂŒr den verbleibenden Abozeitraum, den du bereits bezahlt hast, aktiv. Mehr Informationen hier.
(Wie) Kann ich BĂŒcher herunterladen?
Derzeit stehen all unsere auf MobilgerĂ€te reagierenden ePub-BĂŒcher zum Download ĂŒber die App zur VerfĂŒgung. Die meisten unserer PDFs stehen ebenfalls zum Download bereit; wir arbeiten daran, auch die ĂŒbrigen PDFs zum Download anzubieten, bei denen dies aktuell noch nicht möglich ist. Weitere Informationen hier.
Welcher Unterschied besteht bei den Preisen zwischen den AboplÀnen?
Mit beiden AboplÀnen erhÀltst du vollen Zugang zur Bibliothek und allen Funktionen von Perlego. Die einzigen Unterschiede bestehen im Preis und dem Abozeitraum: Mit dem Jahresabo sparst du auf 12 Monate gerechnet im Vergleich zum Monatsabo rund 30 %.
Was ist Perlego?
Wir sind ein Online-Abodienst fĂŒr LehrbĂŒcher, bei dem du fĂŒr weniger als den Preis eines einzelnen Buches pro Monat Zugang zu einer ganzen Online-Bibliothek erhĂ€ltst. Mit ĂŒber 1 Million BĂŒchern zu ĂŒber 1.000 verschiedenen Themen haben wir bestimmt alles, was du brauchst! Weitere Informationen hier.
UnterstĂŒtzt Perlego Text-zu-Sprache?
Achte auf das Symbol zum Vorlesen in deinem nÀchsten Buch, um zu sehen, ob du es dir auch anhören kannst. Bei diesem Tool wird dir Text laut vorgelesen, wobei der Text beim Vorlesen auch grafisch hervorgehoben wird. Du kannst das Vorlesen jederzeit anhalten, beschleunigen und verlangsamen. Weitere Informationen hier.
Ist Digital Scenography in Opera in the Twenty-First Century als Online-PDF/ePub verfĂŒgbar?
Ja, du hast Zugang zu Digital Scenography in Opera in the Twenty-First Century von Caitlin Vincent im PDF- und/oder ePub-Format sowie zu anderen beliebten BĂŒchern aus Mezzi di comunicazione e arti performative & Musica lirica. Aus unserem Katalog stehen dir ĂŒber 1Â Million BĂŒcher zur VerfĂŒgung.
Given the perception of digital technology as a seeming magic bullet for the opera industry, a basic framework to identify and standardise some of these dramaturgical possibilities is necessary. Such a framework will allow for the critical comparison and analysis of digitally enhanced productions, regardless of repertoire, aesthetic, or other variables.
In a multimedial production, Giesekam argues, projected elements assume a similar role to sets and lighting and help to establish a particular visual environment that supports the narrative of the work. In contrast, an intermedial production employs significant interplay between digital components and performing bodies to the extent that neither can be said to exist independently within the theatrical space. Giesekam acknowledges that some productions may draw on both techniques simultaneously. As such, he suggests that âmultimedialâ and âintermedialâ are best considered âends of a spectrumâ of scenographic possibilities (8).
Applying Giesekamâs framework to opera, we can compare The Metropolitan Operaâs La Donna del Lago (2015), with its digital scenic vista that morphs from dawn to dusk over the course of the performance, to English National Operaâs The Sunken Garden (2013), which incorporates extensive video sequences, 3D stereoscopic effects, and virtual performers (Smith 2013; Curran 2015). In this context, Giesekamâs classification system provides an effective means for quantifying the differences between the two productions. La Donna del Lago clearly functions as a more conventional âmultimedialâ production, which uses projections as the modern-day equivalent of a painted backdrop. The Sunken Garden operates as an âintermedialâ piece, integrating digital media with its live performers as part of an avant-garde and non-narrative aesthetic.
The dichotomy of âmultimedialâ and âintermedialâ presents a useful starting point for a discussion of digital scenography in opera production. Given the scope of technological advancements since the publication of Giesekamâs work, however, there is opportunity to expand upon his approach and examine some of the further possibilities for interactivity and exchange that now underpin digital processes. This opportunity also extends to a consideration of the practical implications of these dramaturgical decisions on backstage processes and operaâs longstanding production conventions.
This chapter proposes an expansion of Giesekamâs approach in which the classification of multimedial and intermedial is reconceived as the modes of synthesis. The modes of synthesis encompass three distinct categoriesânon-synthesis, partial-synthesis, and full-synthesisâeach based on the relationship between the performer, the stage setting, and the spectator that is fundamental to understandings of scenography in practice. Each mode specifically considers the visual relationship, or âsynthesis,â that emerges between the live performer and the digital elements within the shared theatrical space.
This framework enables a more detailed analysis and comparison of different digital scenographies that may not be readily apparent from using only Giesekamâs categories. This, in turn, provides a means for identifying trends in the way digital scenography is currently being used on operatic stages. With these benchmark categories in place, it becomes possible to consider the larger implications of digital scenography for the operatic genre, including its potential disruption to existing conventions, both on and off the stage.
This chapter begins by defining each mode of synthesis and outlining both scenographic characteristics and common dramaturgical uses. The chapter then applies the classification system to an analysis of three digitally enhanced productions of W.A. Mozartâs The Magic Flute. Each production features extensive digital elements but exhibits a different mode of synthesis in practice. The analysis will demonstrate the practicality of the modes as a way of differentiating between digitally enhanced productions and contextualising the artistic choices made by their creative teams. In addition, the chapter will consider some of the challenges posed by each technique and explore the critical responses to their use.
Articulating the modes of synthesis: non-synthesis, partial-synthesis, and full-synthesis
Whether digitally enhanced or not, theatrical productions are traditionally framed for the gaze of the audience member, who perceives the convergence of performer, set, lighting, costumes, and projections within the context of the work. This is particularly evident in genres like opera that uphold the primacy of the proscenium stage, in which the spectator is visually engaged but physically detached from the world of the narrative. Only the performers share the same physical space and fictional setting as the various elements of the scenic design. Because of this physical overlap, the particular relationship between the live performers and digital elements can change in digitally enhanced productions, depending on the dramaturgical requirements of the work and the creative decisions of its director and designers. As this relationship evolves and develops on stage, so too does the resulting visual experience for the audience.
The modes of synthesis qualify this potential by identifying three forms of visual âsynthesis,â each of which stems from the visual relationship established between the live performers and digital elements. The specifics of this relationship are based on two broad functionalities, which I term âvisual correlationâ and âcausal interplay.â Both of these functionalities prioritise the gaze of the spectator while also addressing the scope of interactivity that can develop between live performers and digital elements.
In visual correlation, live performers and digital elements function as coordinated âlayersâ without either a sensory fusion (an âimmersiveâ experience) or an interactive one (a demonstration of agency or causality). A narrative connection between the two components frequently exists, but there is never evidence of an interactive relationship within the context of the narrative itself. As an example, in the first act of Polish National Operaâs Tosca (2019), Cavaradossi sings an aria in which he compares the black eyes of his lover Tosca to a painting of Mary Magdalene (Wysocka 2019). As the performer sings, a video projection of Toscaâs eyes (i.e., pre-recorded footage of the performer playing the role) appears on the set piece behind him. While there is clearly a narrative connection between the subject of Cavardossiâs aria and the video imagery behind him, he never directly interacts with or acknowledges Toscaâs projected eyes. Instead, the two elements function solely as coordinated visual layers for the audience.
In causal interplay, live performers and digital elements explicitly interact. The most common example of this kind of interaction is when one entityâs behaviour (either digital or live) appears to prompt a corresponding response in the other. This establishes a shared spatial realm where the live and digital not only meet but co-exist as performers. The initial prompt for this reciprocal relationship between the live and the digital is frequently grounded in physical movement, such as when a live performer gestures and digital elements appear to respond accordingly. Instances of causal interplay can also be situationalâachieved through the live performerâs presence within immersive digital environmentsâor internalised, located within the live performing body itself.
The implication of causality differentiates this relationship from visual correlation, as the performer appears to âcross the celluloid divideâ from the perspective of the audience and engage directly with the digital elements (Forkbeard Fantasy n.d.). Consider, for example, the final scene in Glyndebourne Festivalâs Vanessa (2018), when Erika orders the Footman to cover the mirrors in the house (Warner 2018). The Footman reaches up to the side of the stage, makes an unhooking movement, and then appears to âpullâ a digital curtain across the back of the set and âcoverâ the mirrors. This moment evokes an intentional causality between the live and the digital, in which one appears to physically engage with the other.
Like Giesekamâs âmultimedialâ and âintermedial,â the modes of synthesis are not fixed benchmarks but function as a spectrum of dramaturgical possibilities, depending on the extent of visual correlation or causal interplay employed (see Figure 1.1). The classification of non-synthesis is essentially a variation of Giesekamâs âmultimedialâ classification and represents the most traditional permutation of digitally enhanced scenography. Digital elements can be used in a number of ways from a dramaturgical perspective: establishing a projected scenic environment, evoking a certain mood, reflecting the passage of time, providing psychological insight into key characters, and realising special effects, among other functions (Oliszewski and Fine 2018). However, the relationship between the live performers and digital elements is defined by all-encompassing visual correlation. Digital elements play a significant aesthetic role but remain detached from the performers. They are layered with the performersâ physical presence from the perspective of the audience but never actively interact with them in a causal way.
In Finnish National Opera and Balletâs Don Giovanni (2020), for example, the staging for Leporelloâs catalogue aria takes place in front of a series of video projections of womenâs faces (NikkilĂ€ 2020). The audience associates this visual overlay with Leporelloâs âcatalogueâ of Don Giovanniâs past conquests, but none of the performers on stage have any explicit interaction with the projected imagery. They neither acknowledge the projected faces nor prompt the facesâ appearance through any physical behaviour. In another example, the Australian International Opera Companyâs The Magic Flute (2016) features seven projected scenic environments, including a fantastical jungle and palace courtyard (Vincent, McCormick, and Vincs 2016). As in Don Giovanni, however, the performers do not interact with the digital imagery in any way. Instead, their physical presence is simply overlaid with the digital environments projected behind them.
In both productions, the creative teams present the audience wit...