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Digital scenography in opera in the twenty-first century / Caitlin Vincent.
- Format:
- Book
- Author/Creator:
- Vincent, Caitlin, author.
- Series:
- Ashgate interdisciplinary studies in opera
- Language:
- English
- Subjects (All):
- Opera--Stage-setting and scenery.
- Opera.
- Projected scenery.
- Physical Description:
- 1 online resource.
- polychrome
- Place of Publication:
- Abingdon, Oxon ; New York, NY : Routledge, 2022.
- System Details:
- text file
- Biography/History:
- Caitlin Vincent researches the future of work in the arts. Key areas of focus include opera, cultural labour, performance and technology, and equity and diversity. An acclaimed opera librettist, Vincent has been commissioned for Washington National Opera, the Schubert Club of Minnesota, the University of Connecticut, and Carnegie Hall.
- Contents:
- Introduction Chapter One
- Digitally-enhanced opera in the twenty-first century and the modes of synthesis Chapter Two
- Digitally-enhanced opera in the twenty-first century and the variants of causal interplay Chapter Three
- The lineage of digital scenography: Baroque origins to the twentieth century Chapter Four
- The lineage of digital scenography: multimedia opera in the twentieth century Chapter Five
- The projection designer and evolving creative hierarchies in opera Chapter Six
- Digital scenography and evolving production design processes in opera Conclusion Bibliography
- Introduction to digital scenography in opera
- What is digital scenography?
- Why opera?
- Research methods
- The modes of synthesis
- Examples of practice
- Interviews
- Chapter outline
- References
- Chapter One
- A new classification system for digital scenography: the modes of synthesis
- Articulating the modes of synthesis: non-synthesis, partial-synthesis, and full- synthesis
- Non-synthesis-San Francisco Opera, 'The Magic Flute' (2012)
- Partial-synthesis-Théâtre Royal de la Monnaie, 'The Magic Flute' (2005)
- Full-synthesis-Komische Oper Berlin, 'The Magic Flute' (2012)
- A comparison of critical responses to the three productions
- Conclusion
- Chapter Two
- The variants of causal interplay
- Agency: the screen as 'performer'
- Dutch National Opera, 'The Magic Flute' (2012)-partial-synthesis
- Victorian Opera, 'Four Saints in Three Acts' (2016)-partial-synthesis
- Augmentation: extension and transformation through digitalisation
- The Royal Opera, Covent Garden, 'Don Giovanni' (2014)-partial-synthesis
- Victorian Opera, 'The Flying Dutchman' (2015)-partial-synthesis
- Full-synthesis extremes of agency and augmentation
- Opéra de Lyon, 'L'Enfant et les Sortilèges' (2016)-full-synthesis
- Autonomy: faux-interactivity versus functional interactivity
- The Metropolitan Opera, 'Das Rheingold' (2010)-partial-synthesis
- Implications for performers and audiences
- Chapter Three
- The lineage of digital scenography in opera: Baroque origins to the twentieth century
- The origins of the Baroque opera paradigm
- The Baroque paradigm and the interplay between performer, stage setting, and spectator
- New perspectives: the scenic reforms of Ferdinando Galli-Bibiena (1657-1743)
- The scenographic transition to 'grand opera'
- The 'mystic chasm': Richard Wagner (1813-1883) and the Bayreuth Festspielhaus
- Adolphe Appia (1862-1928) and dynamic light
- Looking towards the twentieth century
- Chapter Four
- The lineage of digital scenography in opera: multimedia developments in the twentieth century
- Avant-garde origins
- Edward Gordon Craig (1872-1966) and Enrico Prampolini (1894-1956): 'a thousand scenes in one' and 'luminous forms'
- Josef Svoboda (1920-2002) and the dynamic setting of the Laterna Magika
- 'The Tales of Hoffmann' (1962)
- Günther Schneider-Siemssen (1926-2015) and the holograms of the Salzburg Marionette Theatre
- 'The Tales of Hoffmann' (1985)
- Looking towards the twenty-first century
- Chapter Five
- The projection designer and evolving creative hierarchies
- Industry recognition and acknowledgement
- The traditional theatrical hierarchy: director as ultimate authority
- The lateral hierarchy: collective directorate
- Hierarchical variation: projection designers as the directorial authority
- The evolving role of the projection designer
- Chapter Six
- Digital scenography and evolving production design processes
- A benchmark of organisational and funding models
- The twentieth-century standard for production design
- Washington National Opera's 'Das Rheingold' (2016)-non-synthesis
- Théâtre Royal de la Monnaie's 'The Magic Flute' (2005)-partial-synthesis
- Dutch National Opera's 'The Magic Flute' (2012)-partial-synthesis
- Santa Fe Opera's 'The (R)evolution of Steve Jobs' (2017)-non-synthesis
- Komische Oper Berlin's 'The Magic Flute' (2012)-full-synthesis
- Commonalities across the five production design processes
- Production design processes and the modes of synthesis
- The future evolution of digital scenography
- Appendix 1
- Appendix 2
- Appendix 3.
- Notes:
- Includes bibliographical references and index.
- Electronic reproduction. London Available via World Wide Web.
- Description based on online resource; title from digital title page (viewed on September 20, 2021).
- Other Format:
- Print version: VINCENT, CAITLIN. DIGITAL SCENOGRAPHY IN OPERA IN THE TWENTY-FIRST CENTURY.
- ISBN:
- 9781000440676
- 1000440672
- 9781003093305
- 1003093302
- 9781000440737
- 1000440737
- Publisher Number:
- 40030773883
- Access Restriction:
- Restricted for use by site license.
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