The Power of Images in Performance: Josef Svoboda?s Scenography for Intolleranza 1960 at Boston Opera Company
Identifikátory výsledku
Kód výsledku v IS VaVaI
<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F11%3A00050262" target="_blank" >RIV/00216224:14210/11:00050262 - isvavai.cz</a>
Výsledek na webu
—
DOI - Digital Object Identifier
—
Alternativní jazyky
Jazyk výsledku
angličtina
Název v původním jazyce
The Power of Images in Performance: Josef Svoboda?s Scenography for Intolleranza 1960 at Boston Opera Company
Popis výsledku v původním jazyce
In 1965 the Czech scenographer Josef Svoboda and Sarah Caldwell, the leading American conductor and opera director, worked on a contemporary operatic work, Intolleranza 1960 by Luigi Nono, in Boston Opera Company. With its unprecedented use of images, this production introduced a new form of theatrical representation strikingly different from conventional opera and drama performances. The key to the visuality of the performance rested in the presence of different kinds of projected images in combinationwith the stage action of protagonists ? or, at times, in the stark contrast of the absence of such images. The production also included several moments, when images on stage functioned as a mirror and, with minimal delay, showed the action taking placeon and off stage and, according to Svoboda?s testimony and reviews, also the action taking place in the audience.
Název v anglickém jazyce
The Power of Images in Performance: Josef Svoboda?s Scenography for Intolleranza 1960 at Boston Opera Company
Popis výsledku anglicky
In 1965 the Czech scenographer Josef Svoboda and Sarah Caldwell, the leading American conductor and opera director, worked on a contemporary operatic work, Intolleranza 1960 by Luigi Nono, in Boston Opera Company. With its unprecedented use of images, this production introduced a new form of theatrical representation strikingly different from conventional opera and drama performances. The key to the visuality of the performance rested in the presence of different kinds of projected images in combinationwith the stage action of protagonists ? or, at times, in the stark contrast of the absence of such images. The production also included several moments, when images on stage functioned as a mirror and, with minimal delay, showed the action taking placeon and off stage and, according to Svoboda?s testimony and reviews, also the action taking place in the audience.
Klasifikace
Druh
O - Ostatní výsledky
CEP obor
AL - Umění, architektura, kulturní dědictví
OECD FORD obor
—
Návaznosti výsledku
Projekt
<a href="/cs/project/GAP409%2F11%2F1082" target="_blank" >GAP409/11/1082: Český divadelní strukturalismus: souvislosti a potenciál</a><br>
Návaznosti
P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)
Ostatní
Rok uplatnění
2011
Kód důvěrnosti údajů
S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů