Opera Nova : makt, kärlek, remix
(2012)- Abstract
- The ensemble Operaimprovisatörerna investigated ways of deconstructing images of gender and power in opera and opera improvisation performance, by changing roles and using different readings, such as realism, parody and movement. I initiated the project inspired by a theoretical vantage point of post-structural
feminism (Wilén, 2017, p. 17).
The project focused on "interchange of traditional roles and contrasting readings (such as realism and parody) of vocal scores, for addressing, challenging and deconstructing norms of power and gender in operatic repertoire performance" (Wilén, 2017, p. 17).
Musico-dramatic concept
Repertoire opera scenes by composers such as Bizet, Donizetti, Mozart and Puccini
were... (More) - The ensemble Operaimprovisatörerna investigated ways of deconstructing images of gender and power in opera and opera improvisation performance, by changing roles and using different readings, such as realism, parody and movement. I initiated the project inspired by a theoretical vantage point of post-structural
feminism (Wilén, 2017, p. 17).
The project focused on "interchange of traditional roles and contrasting readings (such as realism and parody) of vocal scores, for addressing, challenging and deconstructing norms of power and gender in operatic repertoire performance" (Wilén, 2017, p. 17).
Musico-dramatic concept
Repertoire opera scenes by composers such as Bizet, Donizetti, Mozart and Puccini
were chosen. The vocal parts were to be studied by all singers, so that we could make
different interpretations in terms of vocal timbre and phrasing. This was also a
method for tracking the ‘natural’ habits we as singers have developed both in singing
and in listening. In the work, the singers - many for the first time - changed roles
with each other, trying out both new gender roles and voice Fach. Despite that all
have worked with opera and classical repertoire for many years, this was the very
first time to change into other vocal parts. (Wilén, 2017, p. 106)
The project was performed in three Swedish cities: Stockholm, Malmö and Vadstena. In each city, Operaimprovisatörerna arranged a stage conversation, inviting significant actors in opera, theatre, music and media. In our first stage conversation, two of the guests (Gunilla Brodrej and Göran Gademan) started a dialogue which ignited a fervent debate on opera and gender in Sweden during the spring of 2012. (Wilén, 2017, p. 106) (Less) - Abstract (Swedish)
- Opera Nova tar sin utgångspunkt i de rollfunktioner vi som individer väljer i olika grupper och situationer. Hur fria är vi i våra val? Tillsammans med publiken undersöker vi bilder av makt och genus på operascenen och i verkligheten. Vi undersöker härskartekniker och pratar om hur man kan bryta upp oönskade maktmönster. Vi arbetar med improvisation och leker fram operascener i olika klassiska musikstilar.
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/c4bdb11d-8b27-4161-9aec-f66bac4a17ff
- author
- Wilén, Sara LU
- organization
- alternative title
- Opera Nova : power, gender, remix
- publishing date
- 2012
- type
- Non-textual form
- publication status
- published
- subject
- keywords
- opera improvisation, power and gender, critical performance, classical singing, artistic research, Qualitative methods
- language
- Swedish
- LU publication?
- yes
- id
- c4bdb11d-8b27-4161-9aec-f66bac4a17ff
- alternative location
- https://youtu.be/QN84f9yivWI
- date added to LUP
- 2023-12-19 14:35:36
- date last changed
- 2023-12-21 10:42:54
@misc{c4bdb11d-8b27-4161-9aec-f66bac4a17ff,
abstract = {{The ensemble Operaimprovisatörerna investigated ways of deconstructing images of gender and power in opera and opera improvisation performance, by changing roles and using different readings, such as realism, parody and movement. I initiated the project inspired by a theoretical vantage point of post-structural<br/>feminism (Wilén, 2017, p. 17). <br/><br/>The project focused on "interchange of traditional roles and contrasting readings (such as realism and parody) of vocal scores, for addressing, challenging and deconstructing norms of power and gender in operatic repertoire performance" (Wilén, 2017, p. 17). <br/><br/>Musico-dramatic concept<br/>Repertoire opera scenes by composers such as Bizet, Donizetti, Mozart and Puccini<br/>were chosen. The vocal parts were to be studied by all singers, so that we could make<br/>different interpretations in terms of vocal timbre and phrasing. This was also a<br/>method for tracking the ‘natural’ habits we as singers have developed both in singing<br/>and in listening. In the work, the singers - many for the first time - changed roles<br/>with each other, trying out both new gender roles and voice Fach. Despite that all<br/>have worked with opera and classical repertoire for many years, this was the very<br/>first time to change into other vocal parts. (Wilén, 2017, p. 106)<br/><br/>The project was performed in three Swedish cities: Stockholm, Malmö and Vadstena. In each city, Operaimprovisatörerna arranged a stage conversation, inviting significant actors in opera, theatre, music and media. In our first stage conversation, two of the guests (Gunilla Brodrej and Göran Gademan) started a dialogue which ignited a fervent debate on opera and gender in Sweden during the spring of 2012. (Wilén, 2017, p. 106)}},
author = {{Wilén, Sara}},
keywords = {{opera improvisation; power and gender; critical performance; classical singing; artistic research; Qualitative methods}},
language = {{swe}},
title = {{Opera Nova : makt, kärlek, remix}},
url = {{https://youtu.be/QN84f9yivWI}},
year = {{2012}},
}