Minding the Gap : The Politics of the Body-Voice Relationship in Multimedia Opera

Kód výsledku v 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>

Výsledek na webu

<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>

Jazyk výsledku

angličtina

Název v původním jazyce

Minding the Gap : The Politics of the Body-Voice Relationship in Multimedia Opera

Popis výsledku v původním jazyce

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&apos;s opera Writing to Vermeer (1999). I demonstrate how a sense of an &quot;organic&quot; 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&apos;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&apos;s body to the body perceived, and I demonstrate how, in Writing to Vermeer, this potential is opened up by a &quot;haptic&quot; quality of projected images in conjunction with reproduced sounds.

Název v anglickém jazyce

Minding the Gap : The Politics of the Body-Voice Relationship in Multimedia Opera

Popis výsledku anglicky

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&apos;s opera Writing to Vermeer (1999). I demonstrate how a sense of an &quot;organic&quot; 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&apos;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&apos;s body to the body perceived, and I demonstrate how, in Writing to Vermeer, this potential is opened up by a &quot;haptic&quot; quality of projected images in conjunction with reproduced sounds.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

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OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2021

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Opera Quarterly

ISSN

0736-0053

e-ISSN

—

Svazek periodika

36

Číslo periodika v rámci svazku

1-2

Stát vydavatele periodika

US - Spojené státy americké

Počet stran výsledku

23

Strana od-do

27-49

Kód UT WoS článku

000725077700002

EID výsledku v databázi Scopus

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