The Power of Images in Performance: Josef Svoboda's Scenography for Intolleranza 1960 at Boston Opera Company

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F13%3A00070689" target="_blank" >RIV/00216224:14210/13:00070689 - isvavai.cz</a>

Výsledek na webu

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DOI - Digital Object Identifier

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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.

Druh

C - Kapitola v odborné knize

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

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Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2013

Kód důvěrnosti údajů

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

Název knihy nebo sborníku

Activating the Inanimate: Visual Vocabularies of Performance Practice

ISBN

9781848881211

Počet stran výsledku

10

Strana od-do

31-40

Počet stran knihy

237

Název nakladatele

Inter-Disciplinary Press

Místo vydání

Oxford, United Kingdom

Kód UT WoS kapitoly

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