Suchergebnisse

20 Shots of Opera, released in December 2020, is a series of twenty short pieces of music theatre between five and eight minutes long. They were created and produced in just a few months. What makes the pieces special is that they were conceived to be produced under pandemic conditions and with purely an online reception in mind. This has affected details of the recording process as well as directorial concepts such as the use of animation or superimposition of pictures. This article will analyze how selected Shots engage with these conditions, look at different types of how the voices are used and assess the specific aesthetic circumstances of digital reception, as well as discussing other specific challenges and opportunities of creating music theatre in times of Covid-19.

The article describes the findings of the study of the most significant trends in the development of modern music theatre, resulting in the update of its genres. Influenced by the surge of theatrical creativity in culture, development of digital and interactive technologies and mass media, and other processes between the 20th and 21st centuries, major stylistic discoveries were made, as well as new forms of music stage performance occurred. The author is focused on areas of the modern music theatre, poorly studied by the national music history, such as: television and radio shows, documentary theatre, musical and choreographic performance, mixed media music theatre. Based on their analysis, the article defines basic directions for further development of theatrical and musical genres, i.e. to update traditional genre models from the inside by searching for special forms of genre and style fusion and non-musical playwright forms, combination with screen arts and with real life. The article addresses new forms of theatrical and musical performance, including live art performance, matters of time and space, reinterpretation of the role of the audience, the establishment of environment for various connotations, as well as music and generally aesthetic issues.

Abstract
One of the first accomplishments of the Second Empire (1852–70) was to bring the Opéra under the control of a committee of the most highly placed politicians in the land. While this had far-reaching consequences for the development of repertory in the capital and beyond, it also opened up the possibility of using the Opéra as a locus of diplomatic activity, and major works and productions were made to work for diplomatic purposes. The Opéra emerged as a site of four types of diplomatic activities: the spectacle of state visits, the celebration and monumentalizing of military victories, the restoration and maintenance of good relations, and the promotion of Napoléon's imperial project. Occasionally, as at the end of the "Crimean war," the Opéra served as one of the sites for a series of prolonged negotiations that would lead to formal treaties.

There is a constantly growing gap between rising fixed costs and stagnating revenues in German publicly funded music theatres (PGMTs). The structural crisis can be assumed to be even worse after a restart of the performing arts following the COVID-19 pandemic. The potential of pricing policy, which has been fundamentally verified in literature, is not systematically exploited in PGMTs. The data situation in Ger-many regarding theatres in general is quite comprehensive and not comparable to the rest of the world. But one important key figure is missing for implementing a more revenue-oriented price policy: the av-erage price level of PGMTs. Although there already exist quite comprehensive studies by Schößler (2016) on pricing in publicly funded German theatres (PGTs) and by Ozeghov and Ozhegova (2018) on price discrimination, there is no assessment of the general price structure for PGMTs. The goal of this study is to fill this gap in research, giving an average price level for PGMTs as well as introducing a PGMT index as a basis for a more differentiated price policy and benchmarking.

In this article a group of authors will discuss the documentation process carried out by Filipa Magalhães during her PhD research, who gathered all possible materials concerning the music theatre work FE...DE...RI...CO... (1987) by Constança Capdeville. She created a more complete script (based on the information left by Capdeville, such as scores, texts, drawings, sketches with stage indications, scripts containing the main lines, and scripts for sound and light) aiming to document the several layers of information in order to systematize the work for archival purposes. The music theatre as a performative genre is a synthesis of multimedia artform that involves technological resources (for example the magnetic tape medium), which are aimed to be preserved, exploited, and valorized in order to make re-performance feasible. We will focus on the understanding of the difficulties and challenges found to bring this performance back from the archive to the stage.

Applied Practice: Evidence and Impact in Theatre, Music and Art engages with a diversity of contexts, locations and arts forms - including theatre, music and fine art - and brings together theoretical, political and practice-based perspectives on the question of 'evidence' in relation to participatory arts practice in social contexts. This collection is a unique contribution to the field, focusing on one of the vital concerns for a growing and developing set of arts and research practices. It asks us to consider evidence not only in terms of methodology but also in the light of the ideological, political and pragmatic implications of that methodology. In Part One, Matthew Reason and Nick Rowe reflect on evidence and impact in the participatory arts in relation to recurring conceptual and methodological motifs. These include issues of purpose and obliquity; the relationship between evidence and knowledge; intrinsic and instrumental impacts, and the value of participatory research. Part Two explores the diversity of perspectives, contexts and methodologies in examining what it is possible to know, say and evidence about the often complex and intimate impact of participatory arts. Part Three brings together case studies in which practitioners and practice-based researchers consider the frustrations, opportunities and successes they face in addressing the challenge to produce evidence for the impact of their practice

Ob als Oper, Musical, dramatische Montage oder historisches Pastiche: Performative Zugänge zur Musikgeschichtsschreibung bringen Geschichte auf die Bühne. Dazu stellen sie Verbindungen zwischen Vergangenheit und Gegenwart her und arbeiten mit Klängen, historischem Material oder etablierten Bildern von Künstler*innen. Die Beiträger*innen des Bandes fragen danach, wie Musikgeschichte auf der Bühne erzählt, komponiert, inszeniert und verkörpert wird: Was zeichnet diese intermediale Form der Musikhistoriographie aus? Wie verhält sie sich zur Geschichtsschreibung in anderen Medien? Und welche narrativen Strategien und Praktiken, welche Geschichtsbilder prägen Musikgeschichten auf der Bühne?

ABSTRACTIn this article, the origins of the modern metropolis are reconsidered, using the example of Cairo within its Ottoman and global context. I argue that Cairo's Azbakiyya Garden served as a central ground for fashioning a dynastic capital throughout the nineteenth century. This argument sheds new light on the politics of Khedive Ismail, who introduced a new state representation through urban planning and music theatre. The social history of music in Azbakiyya proves that, instead of functioning as an example of colonial division, Cairo encompassed competing conceptions of class, taste and power.