Postopera: reinventing the voice-body
Both in opera studies and in most operatic works, the singing body is taken for granted. In "Postopera: Reinventing the Voice-Body", Jelena Novak reintroduces an awareness of the physicality of the singing body to opera studies. Arguing that the body-voice relationship itself is a producer...
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Farnham
Ashgate
2015
|
| Series: | Ashgate interdisciplinary studies in opera
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Summary: | Both in opera studies and in most operatic works, the singing body is taken for granted. In "Postopera: Reinventing the Voice-Body", Jelena Novak reintroduces an awareness of the physicality of the singing body to opera studies. Arguing that the body-voice relationship itself is a producer of meaning, she furthermore posits this relationship as one of the major driving forces in recent opera. She takes as her focus six contemporary operas - La Belle et la BA*te (Philip Glass), Writing to Vermeer (Louis Andriessen, Peter Greenaway), Three Tales (Steve Reich, Beryl Korot), One (Michel van der Aa), Homeland (Laurie Anderson) and La Commedia (Louis Andriessen, Hal Hartley) - which she terms a "postoperasa"). These pieces are sites for creative exploration, where the boundaries of the opera world are stretched. Central to this is of the impact of new media, a de-synchronization between image and sound, or a redefinition of body-voice-gender relationships. Novak dissects the singing body as a set of rules, protocols, effects, strategies. That dissection shows how it acts within the world of opera, what interventions it makes, and how it constitutes opera's meanings. - Jelena Novak works in the area of musicology, opera studies, performance studies, dramaturgy and criticism. She is a postdoctoral research fellow at CESEM (Centro de Estudos de Sociologia e Estetica Musical), New University of Lisbon, Portugal with the project 'Opera beyond Drama.' She has been a founding committee member of the Society for Minimalist Music and a founding member of the editorial collective TkH (Walking Theory). In 2013 she won the Thurnau Award for Music-Theatre Studies. |
| Physical Description: | XVII, 173 S. Ill. |
| ISBN: | 9781472441034 |
Staff View
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| 505 | 0 | |a Foreword, Louis Andriessen. Part I Focusing on Body Singing: Postopera and vocalic body; Body-voice gap, postopera and body/voice theory. Part II Voices Beyond Corporeality: Performing Singing as Upgrading: Singing beyond the body: uniqueness, intruder and prosthesis; Monstrous singing: the politics of vocal existence. Part III Throwing the Voice, Catching the Body: Opera, Ventriloquism, and De-Synchronization: Operatizing the film: body without voice and voice without body; Singing letters, multiplied bodies, and dissociated voice. Part IV Singing Gender as a Performance: Voice and gender standing apart; Vocal drag, counter-castrato, and the scandal of the singing body. Reinventing the vocalic body in postopera: conclusion; Bibliography; Index. | |
| 520 | |a Both in opera studies and in most operatic works, the singing body is taken for granted. In "Postopera: Reinventing the Voice-Body", Jelena Novak reintroduces an awareness of the physicality of the singing body to opera studies. Arguing that the body-voice relationship itself is a producer of meaning, she furthermore posits this relationship as one of the major driving forces in recent opera. She takes as her focus six contemporary operas - La Belle et la BA*te (Philip Glass), Writing to Vermeer (Louis Andriessen, Peter Greenaway), Three Tales (Steve Reich, Beryl Korot), One (Michel van der Aa), Homeland (Laurie Anderson) and La Commedia (Louis Andriessen, Hal Hartley) - which she terms a "postoperasa"). These pieces are sites for creative exploration, where the boundaries of the opera world are stretched. Central to this is of the impact of new media, a de-synchronization between image and sound, or a redefinition of body-voice-gender relationships. Novak dissects the singing body as a set of rules, protocols, effects, strategies. That dissection shows how it acts within the world of opera, what interventions it makes, and how it constitutes opera's meanings. - Jelena Novak works in the area of musicology, opera studies, performance studies, dramaturgy and criticism. She is a postdoctoral research fellow at CESEM (Centro de Estudos de Sociologia e Estetica Musical), New University of Lisbon, Portugal with the project 'Opera beyond Drama.' She has been a founding committee member of the Society for Minimalist Music and a founding member of the editorial collective TkH (Walking Theory). In 2013 she won the Thurnau Award for Music-Theatre Studies. | ||
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Record in the Search Index
| _version_ | 1804153057692352512 |
|---|---|
| adam_text | Contents
List of Figures ix
List of Tables xi
Series Editor s Preface xiii
Foreword by Louis A ndriessen xv
Acknowledgments xvii
PART I FOCUSING ON BODY SINGING
1 Postopera and Vocalic Body 3
2 Body-Voice Gap, Postopera, and Body/Voice Theory 19
PART II VOICES BEYOND CORPOREALITY:
PERFORMING SINGING AS UPGRADING
3 Singing Beyond the Body: Uniqueness, Intruder, and Prosthesis 41
4 Monstrous Singing: The Politics of Vocal Existence 57
PART III THROWING THE VOICE, CATCHING THE BODY:
OPERA, VENTRILOQUISM, AND
DESYNCHRONIZATION
5 Operatizing the Film: Body Without Voice and Voice
Without Body 79
6 Singing Letters, Multiplied Bodies, and Dissociated Voice 93
PART IV SINGING GENDER AS A PERFORMANCE
7 Voice and Gender Standing Apart 113
Post opera: Reinventing the Voice-Body
viii
8 Vocal Drag, Counter-Castrato, and the Scandal of the
Singing Body 133
Reinventing the Vocalic Body in Postopera: Conclusion 149
Bibliography 155
Audio and Video Recordings 165
Scores 167
Index 169
|
| any_adam_object | 1 |
| author | Novak, Jelena 1974- |
| author_GND | (DE-588)133759784 |
| author_facet | Novak, Jelena 1974- |
| author_role | aut |
| author_sort | Novak, Jelena 1974- |
| author_variant | j n jn |
| building | Verbundindex |
| bvnumber | BV042402071 |
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| callnumber-raw | ML3858 |
| callnumber-search | ML3858 |
| callnumber-sort | ML 43858 |
| callnumber-subject | ML - Literature on Music |
| classification_rvk | LR 54173 |
| contents | Foreword, Louis Andriessen. Part I Focusing on Body Singing: Postopera and vocalic body; Body-voice gap, postopera and body/voice theory. Part II Voices Beyond Corporeality: Performing Singing as Upgrading: Singing beyond the body: uniqueness, intruder and prosthesis; Monstrous singing: the politics of vocal existence. Part III Throwing the Voice, Catching the Body: Opera, Ventriloquism, and De-Synchronization: Operatizing the film: body without voice and voice without body; Singing letters, multiplied bodies, and dissociated voice. Part IV Singing Gender as a Performance: Voice and gender standing apart; Vocal drag, counter-castrato, and the scandal of the singing body. Reinventing the vocalic body in postopera: conclusion; Bibliography; Index. |
| ctrlnum | (OCoLC)910940543 (DE-599)BVBBV042402071 |
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| dewey-ones | 782 - Vocal music |
| dewey-raw | 782.109/05 |
| dewey-search | 782.109/05 |
| dewey-sort | 3782.109 15 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| era | Geschichte 1900-2000 Geschichte 1950-2015 gnd |
| era_facet | Geschichte 1900-2000 Geschichte 1950-2015 |
| format | Book |
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| id | DE-604.BV042402071 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:20:33Z |
| institution | BVB |
| isbn | 9781472441034 |
| language | English |
| lccn | 014042884 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027837732 |
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| physical | XVII, 173 S. Ill. |
| publishDate | 2015 |
| publishDateSearch | 2015 |
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| publisher | Ashgate |
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| series2 | Ashgate interdisciplinary studies in opera |
| spelling | Novak, Jelena 1974- Verfasser (DE-588)133759784 aut Postopera reinventing the voice-body Jelena Novak Farnham Ashgate 2015 XVII, 173 S. Ill. txt rdacontent n rdamedia nc rdacarrier Ashgate interdisciplinary studies in opera Foreword, Louis Andriessen. Part I Focusing on Body Singing: Postopera and vocalic body; Body-voice gap, postopera and body/voice theory. Part II Voices Beyond Corporeality: Performing Singing as Upgrading: Singing beyond the body: uniqueness, intruder and prosthesis; Monstrous singing: the politics of vocal existence. Part III Throwing the Voice, Catching the Body: Opera, Ventriloquism, and De-Synchronization: Operatizing the film: body without voice and voice without body; Singing letters, multiplied bodies, and dissociated voice. Part IV Singing Gender as a Performance: Voice and gender standing apart; Vocal drag, counter-castrato, and the scandal of the singing body. Reinventing the vocalic body in postopera: conclusion; Bibliography; Index. Both in opera studies and in most operatic works, the singing body is taken for granted. In "Postopera: Reinventing the Voice-Body", Jelena Novak reintroduces an awareness of the physicality of the singing body to opera studies. Arguing that the body-voice relationship itself is a producer of meaning, she furthermore posits this relationship as one of the major driving forces in recent opera. She takes as her focus six contemporary operas - La Belle et la BA*te (Philip Glass), Writing to Vermeer (Louis Andriessen, Peter Greenaway), Three Tales (Steve Reich, Beryl Korot), One (Michel van der Aa), Homeland (Laurie Anderson) and La Commedia (Louis Andriessen, Hal Hartley) - which she terms a "postoperasa"). These pieces are sites for creative exploration, where the boundaries of the opera world are stretched. Central to this is of the impact of new media, a de-synchronization between image and sound, or a redefinition of body-voice-gender relationships. Novak dissects the singing body as a set of rules, protocols, effects, strategies. That dissection shows how it acts within the world of opera, what interventions it makes, and how it constitutes opera's meanings. - Jelena Novak works in the area of musicology, opera studies, performance studies, dramaturgy and criticism. She is a postdoctoral research fellow at CESEM (Centro de Estudos de Sociologia e Estetica Musical), New University of Lisbon, Portugal with the project 'Opera beyond Drama.' She has been a founding committee member of the Society for Minimalist Music and a founding member of the editorial collective TkH (Walking Theory). In 2013 she won the Thurnau Award for Music-Theatre Studies. Geschichte 1900-2000 Geschichte 1950-2015 gnd rswk-swf Operas 21st century Philosophy and aesthetics Operas 20th century Philosophy and aesthetics Opera 21st century Opera 20th century Gesang (DE-588)4020470-4 gnd rswk-swf Körpererfahrung (DE-588)4120582-0 gnd rswk-swf Oper (DE-588)4043582-9 gnd rswk-swf Oper (DE-588)4043582-9 s Gesang (DE-588)4020470-4 s Körpererfahrung (DE-588)4120582-0 s Geschichte 1950-2015 z DE-604 Erscheint auch als Online-Ausgabe, EPUB 978-1-4724-4105-8 Erscheint auch als Online-Ausgabe, PDF 978-1-4724-4104-1 Digitalisierung BSB Muenchen - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027837732&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Novak, Jelena 1974- Postopera reinventing the voice-body Foreword, Louis Andriessen. Part I Focusing on Body Singing: Postopera and vocalic body; Body-voice gap, postopera and body/voice theory. Part II Voices Beyond Corporeality: Performing Singing as Upgrading: Singing beyond the body: uniqueness, intruder and prosthesis; Monstrous singing: the politics of vocal existence. Part III Throwing the Voice, Catching the Body: Opera, Ventriloquism, and De-Synchronization: Operatizing the film: body without voice and voice without body; Singing letters, multiplied bodies, and dissociated voice. Part IV Singing Gender as a Performance: Voice and gender standing apart; Vocal drag, counter-castrato, and the scandal of the singing body. Reinventing the vocalic body in postopera: conclusion; Bibliography; Index. Operas 21st century Philosophy and aesthetics Operas 20th century Philosophy and aesthetics Opera 21st century Opera 20th century Gesang (DE-588)4020470-4 gnd Körpererfahrung (DE-588)4120582-0 gnd Oper (DE-588)4043582-9 gnd |
| subject_GND | (DE-588)4020470-4 (DE-588)4120582-0 (DE-588)4043582-9 |
| title | Postopera reinventing the voice-body |
| title_auth | Postopera reinventing the voice-body |
| title_exact_search | Postopera reinventing the voice-body |
| title_full | Postopera reinventing the voice-body Jelena Novak |
| title_fullStr | Postopera reinventing the voice-body Jelena Novak |
| title_full_unstemmed | Postopera reinventing the voice-body Jelena Novak |
| title_short | Postopera |
| title_sort | postopera reinventing the voice body |
| title_sub | reinventing the voice-body |
| topic | Operas 21st century Philosophy and aesthetics Operas 20th century Philosophy and aesthetics Opera 21st century Opera 20th century Gesang (DE-588)4020470-4 gnd Körpererfahrung (DE-588)4120582-0 gnd Oper (DE-588)4043582-9 gnd |
| topic_facet | Operas 21st century Philosophy and aesthetics Operas 20th century Philosophy and aesthetics Opera 21st century Opera 20th century Gesang Körpererfahrung Oper |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027837732&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT novakjelena postoperareinventingthevoicebody |