Where Have All the Women Gone? On the Absence of Feminine Agency in Contemporary Productions of the Original Boris Godunov

IF 0.4 2区 艺术学 0 MUSIC JOURNAL OF MUSICOLOGICAL RESEARCH Pub Date : 2020-07-09 DOI:10.1080/01411896.2020.1787794
Francis Maes
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Abstract

ABSTRACT The rejection of Boris Godunov for the lack of a female part led Modest Musorgskii to revise the opera to include the historical character of Marina Mniszech. The resulting “Polish” Act has been received with mixed feelings. Bias against it is one of the reasons behind the contemporary surge of interest in the original 1869 version of the opera, as testified to by productions at the Mariiinski Theater, the Bavarian State Opera, the Royal Opera House, and the Paris Opéra. The return to the original Boris has a side effect, however, which is precisely the one the selection committee of the Imperial Theaters warned against: it represents a world devoid of female agency. In the otherwise significant production created by Ivo van Hove for Paris, this omission sits uncomfortably with the social and political values that have been articulated most clearly in the #MeToo campaign. Since Musorgskii provided an alternative, the experience of the original Boris Godunov in actual performance might stimulate a renewed interest in what has been left out. Considered from the standards of the #MeToo movement, the part of Marina Mniszech becomes significant as a reminder of the active role played by women in the historical events represented on stage. The part also resonates with the contemporary #MeToo analysis of gender roles. The character of Marina combines a desire for female autonomy with submission to patriarchal forces and could offer interesting material for a stage production that addresses the story from a modern awareness of gender roles. A comparison with van Hove’s take on Schiller’s Mary Stuart demonstrates that such awareness may be creatively productive.
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女人都去哪儿了?论《鲍里斯·戈杜诺夫》原作当代创作中女性能动性的缺失
鲍里斯·戈杜诺夫因缺少女性角色而遭拒,穆索尔斯基对歌剧进行了修改,加入了历史人物玛丽娜·米尼泽克。由此产生的“波兰”法案让人百感交集。对它的偏见是当代人们对1869年原版歌剧兴趣激增的原因之一,这一点在玛丽林斯基剧院、巴伐利亚国家歌剧院、皇家歌剧院和巴黎歌剧院的演出中得到了证明。然而,回归原来的鲍里斯有一个副作用,这正是帝国剧院评选委员会警告的:它代表了一个缺乏女性主体的世界。在伊沃·范·霍夫(Ivo van Hove)为巴黎创作的这部原本意义重大的作品中,这一遗漏与#MeToo运动中最明确表达的社会和政治价值观格格不入。既然穆索尔斯基提供了另一种选择,那么鲍里斯·戈杜诺夫原作在实际演出中的经历可能会激发人们对被遗漏的东西的重新兴趣。从#MeToo运动的标准来看,Marina Mniszech的角色很重要,因为它提醒了女性在舞台上表现的历史事件中所扮演的积极角色。这一部分也与当代#MeToo对性别角色的分析产生了共鸣。玛丽娜这个角色结合了对女性自主的渴望和对父权力量的屈服,可以为舞台剧提供有趣的材料,从现代的性别角色意识来讲述这个故事。与范霍夫对席勒的《玛丽·斯图尔特》所作的比较表明,这种意识可能具有创造性的生产力。
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来源期刊
CiteScore
0.30
自引率
0.00%
发文量
17
期刊介绍: The Journal of Musicological Research publishes original articles on all aspects of the discipline of music: historical musicology, style and repertory studies, music theory, ethnomusicology, music education, organology, and interdisciplinary studies. Because contemporary music scholarship addresses critical and analytical issues from a multiplicity of viewpoints, the Journal of Musicological Research seeks to present studies from all perspectives, using the full spectrum of methodologies. This variety makes the Journal a place where scholarly approaches can coexist, in all their harmony and occasional discord, and one that is not allied with any particular school or viewpoint.
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