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Authorship in Opera

Ana Lederer

Sažetak

The rise of director’s theatre (Regietheater) in the middle of the 1950s significantly reshaped the opera direction. This is accompanied by the permanent and polemic question of authorship in opera, adopted by the artistic personality of stage director almost as a synonym for the creative innovation and originality of stage interpretation of the opera score: where are the boundaries of authorship in opera direction (and those of a conductor) in relation to the composer’s authorship of the score, and is it possible and when it is an imperative to defend the score from the originality of stage director’s authorship, i.e. where are the limits of protecting the composer from the stage director’s interpretations. Various experimentations in musical interpretations and staging aesthetics provoke different responses from the audience and theatre critics towards the authorship in opera direction, and in the context of Croatian theatre and the tradition of national opera staging, especially in the so called iron repertoire: the paper focuses on the production and reception of provocative stage interpretations of Bizet’s Carmen (2007) and Verdi’s Aida (2013) in the Opera of the Croatian National Theatre in Zagreb.

Ključne riječi

opera theatre; opera direction; authorship; production; the CNT Opera in Zagreb

Hrčak ID:

246613

URI

https://hrcak.srce.hr/246613

Datum izdavanja:

20.10.2020.

Podaci na drugim jezicima: hrvatski

Posjeta: 752 *