Minding the Gap : The Politics of the Body-Voice Relationship in Multimedia Opera
The result's identifiers
Result code in IS VaVaI
<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F21%3A10441300" target="_blank" >RIV/00216208:11210/21:10441300 - isvavai.cz</a>
Result on the web
<a href="https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=zwo5LclmpB" target="_blank" >https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=zwo5LclmpB</a>
DOI - Digital Object Identifier
<a href="http://dx.doi.org/10.1093/oq/kbab007" target="_blank" >10.1093/oq/kbab007</a>
Alternative languages
Result language
angličtina
Original language name
Minding the Gap : The Politics of the Body-Voice Relationship in Multimedia Opera
Original language description
Where the relationship between voice and body in opera has often been theorized in terms of a gap or split, this article concentrates on how a perceived unity of voice and body is constructed in multimedia opera. I understand this unity as an effect with particular aims and purposes, which may be produced in new works of opera as well as multimedia productions of the operatic canon and pieces of new music theatre. In this article I analyze it with the help of Louis Andriessen and Peter Greenaway's opera Writing to Vermeer (1999). I demonstrate how a sense of an "organic" unity of voice and body is created in the opera, and I argue that its alignment with liveness and femininity challenges some of the critical claims that have been made with respect to the singing voice, especially those that associate the voice's subversive power with the escape from signification, and/or oppose it to both the visual and the textual. These claims have often been informed by a critique of the Western representational regime, and especially the (mastering and male) gaze. Rather than looking for subversive alternatives to this regime in terms of the aural, I draw on theories that suggest such alternatives from within the realm of vision, and I rethink them in terms of audio-vision. I associate the political potential of multimedia opera with a particular, physiological sensitivity of the perceiver's body to the body perceived, and I demonstrate how, in Writing to Vermeer, this potential is opened up by a "haptic" quality of projected images in conjunction with reproduced sounds.
Czech name
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Czech description
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Classification
Type
J<sub>imp</sub> - Article in a specialist periodical, which is included in the Web of Science database
CEP classification
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OECD FORD branch
60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)
Result continuities
Project
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Continuities
I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace
Others
Publication year
2021
Confidentiality
S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů
Data specific for result type
Name of the periodical
Opera Quarterly
ISSN
0736-0053
e-ISSN
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Volume of the periodical
36
Issue of the periodical within the volume
1-2
Country of publishing house
US - UNITED STATES
Number of pages
23
Pages from-to
27-49
UT code for WoS article
000725077700002
EID of the result in the Scopus database
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