Pub Date : 2023-02-16DOI: 10.1017/S0954586722000325
David Salkowski
Abstract When Alexander Grechaninov's opera Sister Beatrice on a text by Maurice Maeterlinck premiered in Moscow in 1912, it promised to bring together two conceptual worlds, those of symbolist aesthetics and the Russian Orthodox liturgy. Critics who hoped that Grechaninov's experience as a composer of sacred music would help bring alive the ‘unheard music’ of Maeterlinck's symbolist ‘Miracle Play’, however, were sorely disappointed. The opera drew scorn from critics for its overly concrete musical rhetoric, while conservative commentators levelled claims of blasphemy. In this article, I consider the two scenes depicting miracles in Sister Beatrice to demonstrate how it negotiated these competing perspectives, employing insights from religious philosophy as well as symbolist aesthetics. Drawing on new archival evidence, I also demonstrate how church and state censors co-participated with composers and critics debating whether and how the sacred might be displayed on stage and in sound.
{"title":"Grechaninov's Sister Beatrice and the Consecration of the Stage in Orthodox Russia","authors":"David Salkowski","doi":"10.1017/S0954586722000325","DOIUrl":"https://doi.org/10.1017/S0954586722000325","url":null,"abstract":"Abstract When Alexander Grechaninov's opera Sister Beatrice on a text by Maurice Maeterlinck premiered in Moscow in 1912, it promised to bring together two conceptual worlds, those of symbolist aesthetics and the Russian Orthodox liturgy. Critics who hoped that Grechaninov's experience as a composer of sacred music would help bring alive the ‘unheard music’ of Maeterlinck's symbolist ‘Miracle Play’, however, were sorely disappointed. The opera drew scorn from critics for its overly concrete musical rhetoric, while conservative commentators levelled claims of blasphemy. In this article, I consider the two scenes depicting miracles in Sister Beatrice to demonstrate how it negotiated these competing perspectives, employing insights from religious philosophy as well as symbolist aesthetics. Drawing on new archival evidence, I also demonstrate how church and state censors co-participated with composers and critics debating whether and how the sacred might be displayed on stage and in sound.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"35 1","pages":"1 - 25"},"PeriodicalIF":0.3,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49017708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1017/S0954586722000258
Enza De Francisci
Abstract This article retraces Giuseppe Verdi's Otello (1887) to the great Italian mattatori (star actors), particularly Tommaso Salvini (1829–1915), whose ground-breaking performances of the Moor of Venice, in a translation by Giulio Carcano, coincided with the time when Verdi and his librettist, Arrigo Boito, were collaborating on their Otello. The grandi attori enjoyed a reputation for realistic immediacy and impulsiveness readily associated with cultural stereotypes about Italy's perceived ‘otherness’. In the ethnographic context of nineteenth-century Italy, it is argued here that the actors’ interpretation of Shakespeare's Moor not only synthesised the multilateral cultural threads of the Jacobean Othello, but also partnered this racial alterity with a new dramatic language, which went on to influence Verdi's opera and prompt book, and, ultimately, to perpetuate an exoticised ‘brand’ of Italian artistic culture on stage at a time when Italy was fashioning its own national identity.
{"title":"Performing Ot(h)ello: Verdi, Salvini and the Stage Manual","authors":"Enza De Francisci","doi":"10.1017/S0954586722000258","DOIUrl":"https://doi.org/10.1017/S0954586722000258","url":null,"abstract":"Abstract This article retraces Giuseppe Verdi's Otello (1887) to the great Italian mattatori (star actors), particularly Tommaso Salvini (1829–1915), whose ground-breaking performances of the Moor of Venice, in a translation by Giulio Carcano, coincided with the time when Verdi and his librettist, Arrigo Boito, were collaborating on their Otello. The grandi attori enjoyed a reputation for realistic immediacy and impulsiveness readily associated with cultural stereotypes about Italy's perceived ‘otherness’. In the ethnographic context of nineteenth-century Italy, it is argued here that the actors’ interpretation of Shakespeare's Moor not only synthesised the multilateral cultural threads of the Jacobean Othello, but also partnered this racial alterity with a new dramatic language, which went on to influence Verdi's opera and prompt book, and, ultimately, to perpetuate an exoticised ‘brand’ of Italian artistic culture on stage at a time when Italy was fashioning its own national identity.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"293 - 308"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42792872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1017/S0954586722000313
Elisabeth van Treeck
Let's start with where opera happens: the opera house. For the 2022/23 season, Opernhaus Dortmund, known for its fine instinct for rare gems on the operatic stage, decided to mount Jacques François Fromental Halévy's La Juive. Having been introduced to this grand opéra as a first-year musicology student, I was excited to see the premiere of Sybrand van der Werf's production on a Sunday night in November 2022 – while preparing this review. As it turns out, the performance transferred me straight into the core arguments of each of the three books under consideration here: the intense co-presence unfolding between the performer and audience, generated as in Clemens Risi's account by a briefly indisposed singer; the inclusion of visual codes evoking SM erotic play on stage, which also informs Axel Englund's investigation; and finally, the production of a hypermedia spectacle, which is Tereza Havelková's central concern. A single performance demonstrated the relevance and applicability of each of Risi's, Englund's and Havelková's studies.
让我们从歌剧发生的地方开始：歌剧院。在2022/23赛季，多特蒙德歌剧院（Opernhaus Dortmund）以其在歌剧舞台上对稀有宝石的敏锐本能而闻名，决定上演雅克·弗朗索瓦·弗洛门塔尔·哈雷维（Jacques François Fromental Halévy）的《青春》（La Juive）。作为一名音乐学一年级学生，我被介绍到了这场盛大的歌剧院，在准备这篇评论的同时，我很高兴看到Sybrand van der Werf的作品在2022年11月的一个周日晚上首演。事实证明，这场表演让我直接进入了这里所考虑的三本书中每一本的核心论点：表演者和观众之间展开的激烈的共同存在，正如克莱门斯·里希所描述的那样，是由一位短暂不适的歌手产生的；在舞台上加入了让人想起SM色情剧的视觉代码，这也为Axel Englund的调查提供了信息；最后，制作超媒体奇观，这是Tereza Havelková的核心关注点。一次表演证明了里希、英格伦和哈维尔科娃的每一项研究的相关性和适用性。
{"title":"Quel Plaisir! Quel Plaisir? – On Bodies in Performance","authors":"Elisabeth van Treeck","doi":"10.1017/S0954586722000313","DOIUrl":"https://doi.org/10.1017/S0954586722000313","url":null,"abstract":"Let's start with where opera happens: the opera house. For the 2022/23 season, Opernhaus Dortmund, known for its fine instinct for rare gems on the operatic stage, decided to mount Jacques François Fromental Halévy's La Juive. Having been introduced to this grand opéra as a first-year musicology student, I was excited to see the premiere of Sybrand van der Werf's production on a Sunday night in November 2022 – while preparing this review. As it turns out, the performance transferred me straight into the core arguments of each of the three books under consideration here: the intense co-presence unfolding between the performer and audience, generated as in Clemens Risi's account by a briefly indisposed singer; the inclusion of visual codes evoking SM erotic play on stage, which also informs Axel Englund's investigation; and finally, the production of a hypermedia spectacle, which is Tereza Havelková's central concern. A single performance demonstrated the relevance and applicability of each of Risi's, Englund's and Havelková's studies.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"380 - 389"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43185339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1017/s0954586723000010
{"title":"OPR volume 34 issue 3 Cover and Back matter","authors":"","doi":"10.1017/s0954586723000010","DOIUrl":"https://doi.org/10.1017/s0954586723000010","url":null,"abstract":"","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":" ","pages":"b1 - b2"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43864349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1017/S0954586722000295
Francesco Milella
Abstract In 1828, five years after the premiere in Venice of Rossini's final Italian opera, Semiramide, Gaetano Rossi's libretto was again set to music, this time by the famed bel canto tenor and composer Manuel García in Mexico City. The opera, one of the first to be composed in Latin America after the collapse of the Spanish empire, was intended to demonstrate independent Mexico's ability not just to import Italian opera from Europe but also to produce new works. Instead of proving Mexico's credentials as a successful operatic nation, however, García's Semiramide became a problematic space for bringing to light tensions between underlying colonial resistance and the new liberal influence of France, England and Italy. This article contextualises this momentous operatic event within the wider frame of Mexico's nation building and investigates how the manifold political tensions and cultural contradictions of Mexico's postcolonial transition were absorbed and amplified by both García's composition and its staging.
{"title":"A Mexican Semiramide: García and Rossini in Postcolonial Latin America","authors":"Francesco Milella","doi":"10.1017/S0954586722000295","DOIUrl":"https://doi.org/10.1017/S0954586722000295","url":null,"abstract":"Abstract In 1828, five years after the premiere in Venice of Rossini's final Italian opera, Semiramide, Gaetano Rossi's libretto was again set to music, this time by the famed bel canto tenor and composer Manuel García in Mexico City. The opera, one of the first to be composed in Latin America after the collapse of the Spanish empire, was intended to demonstrate independent Mexico's ability not just to import Italian opera from Europe but also to produce new works. Instead of proving Mexico's credentials as a successful operatic nation, however, García's Semiramide became a problematic space for bringing to light tensions between underlying colonial resistance and the new liberal influence of France, England and Italy. This article contextualises this momentous operatic event within the wider frame of Mexico's nation building and investigates how the manifold political tensions and cultural contradictions of Mexico's postcolonial transition were absorbed and amplified by both García's composition and its staging.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"245 - 268"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42468938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1017/S0954586722000222
Jane Sylvester
Abstract Following the premiere of Tosca in January 1900, Giacomo Puccini's progressive critics generally took issue with two main aspects of the opera: the first was the composer's supposedly unoriginal modes of expression, and the second was the work's scandalous plot. While many attributed the dark tone of Tosca to its French source, Sardou's melodrama La Tosca, I contend that there is an underlying context for both the dramatic and the musical unsavouriness of Puccini's verismo opera: the Italian fascination with criminology. Beginning in the 1870s after Italian unification, positivist criminologists, led by Cesare Lombroso, sought to locate the organic causes of criminality and believed that deviancy was objectively readable through the body. Lombroso further conceptualised the ‘born criminal’ as an exceptional individual that was predisposed to artistic expression. His theories, rooted in deeply troubling stereotypes and conventional wisdom, gained traction with a bourgeois public as well as with contemporary luminaries, including Giuseppe Giacosa, one of Puccini's librettists. Drawing on Lombroso's writings, letters and archived objects, I show how the criminologist's bourgeois version of perversity provides a valuable framework to evaluate the derivative modes of deviant expression present not only in Tosca, but within verismo opera at large.
{"title":"Verismo's Dramatised Deviants: Lombroso's Criminal Anthropology in Tosca","authors":"Jane Sylvester","doi":"10.1017/S0954586722000222","DOIUrl":"https://doi.org/10.1017/S0954586722000222","url":null,"abstract":"Abstract Following the premiere of Tosca in January 1900, Giacomo Puccini's progressive critics generally took issue with two main aspects of the opera: the first was the composer's supposedly unoriginal modes of expression, and the second was the work's scandalous plot. While many attributed the dark tone of Tosca to its French source, Sardou's melodrama La Tosca, I contend that there is an underlying context for both the dramatic and the musical unsavouriness of Puccini's verismo opera: the Italian fascination with criminology. Beginning in the 1870s after Italian unification, positivist criminologists, led by Cesare Lombroso, sought to locate the organic causes of criminality and believed that deviancy was objectively readable through the body. Lombroso further conceptualised the ‘born criminal’ as an exceptional individual that was predisposed to artistic expression. His theories, rooted in deeply troubling stereotypes and conventional wisdom, gained traction with a bourgeois public as well as with contemporary luminaries, including Giuseppe Giacosa, one of Puccini's librettists. Drawing on Lombroso's writings, letters and archived objects, I show how the criminologist's bourgeois version of perversity provides a valuable framework to evaluate the derivative modes of deviant expression present not only in Tosca, but within verismo opera at large.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"269 - 292"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46590654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1017/S0954586722000246
A. Hsieh
Abstract This article interrogates how Franz Schreker's Die Gezeichneten and its early reception reflected an uneasiness about the confines of manhood. As an opera with a complex genesis and a difficult reception history, Die Gezeichneten's allure comes from its resistance to being reduced to only one thing. I nevertheless seek to locate this opera around the time of its premiere towards the end of the First World War. I contend that Die Gezeichneten and its immediate reception charted a key transition in Austro-German masculinity. Specifically, the opera's early performances marked a move away from the period's normative models of bourgeois masculinity (and their corresponding ideas about appearance, health and nationhood) and towards an alternative masculinity preoccupied with degeneracy. I focus on the opera's masks, arguing that, through acts of concealment and disclosure, the opera's two male protagonists struggle to negotiate expectations of an emotionally controlled modern manhood, calling attention to wartime anxieties about what it meant to be a man. Such anxieties resulted in a hardening of attitudes towards the masculine gender, which influenced contemporary music criticism too. Die Gezeichneten's highly sensationalist early reviews relied on a language of degeneracy. Yet I suggest that the opera's initial reception captured a critical moment in this language's history before it was subsumed under Nazi ideology.
{"title":"The Mask of Bourgeois Masculinity and Franz Schreker's Die Gezeichneten","authors":"A. Hsieh","doi":"10.1017/S0954586722000246","DOIUrl":"https://doi.org/10.1017/S0954586722000246","url":null,"abstract":"Abstract This article interrogates how Franz Schreker's Die Gezeichneten and its early reception reflected an uneasiness about the confines of manhood. As an opera with a complex genesis and a difficult reception history, Die Gezeichneten's allure comes from its resistance to being reduced to only one thing. I nevertheless seek to locate this opera around the time of its premiere towards the end of the First World War. I contend that Die Gezeichneten and its immediate reception charted a key transition in Austro-German masculinity. Specifically, the opera's early performances marked a move away from the period's normative models of bourgeois masculinity (and their corresponding ideas about appearance, health and nationhood) and towards an alternative masculinity preoccupied with degeneracy. I focus on the opera's masks, arguing that, through acts of concealment and disclosure, the opera's two male protagonists struggle to negotiate expectations of an emotionally controlled modern manhood, calling attention to wartime anxieties about what it meant to be a man. Such anxieties resulted in a hardening of attitudes towards the masculine gender, which influenced contemporary music criticism too. Die Gezeichneten's highly sensationalist early reviews relied on a language of degeneracy. Yet I suggest that the opera's initial reception captured a critical moment in this language's history before it was subsumed under Nazi ideology.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"338 - 363"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46202352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1017/S0954586722000301
Jessica Tsun Lem Hui
Abstract This article explores the technological affordances of vocal production software in performance through a case study of Shibuya Keīchirō's The End (2012). In the performance of this ‘humanless opera’, desires for pliability and fantasies of control are realised through the affordances of a singing voice synthesis software known as Vocaloid. By reflecting on The End's thematic focus on death and existentialism and on notions of vocal virtuosity, and by exploring the socio-technical processes by which the protagonist, virtual pop star Hatsune Miku, was constructed, the article provides an alternative narrative to vocal production and intermundane collaboration as it relates to the fluid and reversible configurations between voices, bodies and technologies in performance.
{"title":"Reconfiguring Voice in The End: Virtuosity, Technological Affordance and the Reversibility of Hatsune Miku in the Intermundane","authors":"Jessica Tsun Lem Hui","doi":"10.1017/S0954586722000301","DOIUrl":"https://doi.org/10.1017/S0954586722000301","url":null,"abstract":"Abstract This article explores the technological affordances of vocal production software in performance through a case study of Shibuya Keīchirō's The End (2012). In the performance of this ‘humanless opera’, desires for pliability and fantasies of control are realised through the affordances of a singing voice synthesis software known as Vocaloid. By reflecting on The End's thematic focus on death and existentialism and on notions of vocal virtuosity, and by exploring the socio-technical processes by which the protagonist, virtual pop star Hatsune Miku, was constructed, the article provides an alternative narrative to vocal production and intermundane collaboration as it relates to the fluid and reversible configurations between voices, bodies and technologies in performance.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"364 - 379"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42581135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1017/s0954586723000022
{"title":"OPR volume 34 issue 3 Cover and Front matter","authors":"","doi":"10.1017/s0954586723000022","DOIUrl":"https://doi.org/10.1017/s0954586723000022","url":null,"abstract":"","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":" ","pages":"f1 - f2"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45384840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1017/S095458672200026X
S. Collins
Abstract It has long been claimed that opera can give expression to the uneasy relationship between the body and the voice. Operatic voices seem to exceed the capacity of the bodies that produce them in a way that conveys a sense of mechanisation or limited agency, inviting metaphorical comparisons to marionettes. Yet recent studies of gesture have suggested that bodies are not simply passively inscribed with meaning but that they also mediate the process of inscription. Investigating the implications of this claim for opera, this article discusses two recent essays by Judith Butler, in which she draws from Walter Benjamin's account of gesture in Brecht's epic theatre to argue for the performative power of incomplete or decontextualised bodily actions. It then traces this idea to a moment in epic theatre's own prehistory, focusing on Ferruccio Busoni's opera Doktor Faust. The article makes both a theoretical point and an historical claim: it highlights how bodies and words that are decontextualised can perform a critical function despite not enjoying the usual citational supports necessary for a speech act; and it argues that Busoni's Doktor Faust and his theory of opera were a part of the intellectual prehistory to Butler's conceptualisation of bodily performativity.
{"title":"The Operatic Roots of Performativity: Bodies Decontextualised in Butler, Brecht and Busoni","authors":"S. Collins","doi":"10.1017/S095458672200026X","DOIUrl":"https://doi.org/10.1017/S095458672200026X","url":null,"abstract":"Abstract It has long been claimed that opera can give expression to the uneasy relationship between the body and the voice. Operatic voices seem to exceed the capacity of the bodies that produce them in a way that conveys a sense of mechanisation or limited agency, inviting metaphorical comparisons to marionettes. Yet recent studies of gesture have suggested that bodies are not simply passively inscribed with meaning but that they also mediate the process of inscription. Investigating the implications of this claim for opera, this article discusses two recent essays by Judith Butler, in which she draws from Walter Benjamin's account of gesture in Brecht's epic theatre to argue for the performative power of incomplete or decontextualised bodily actions. It then traces this idea to a moment in epic theatre's own prehistory, focusing on Ferruccio Busoni's opera Doktor Faust. The article makes both a theoretical point and an historical claim: it highlights how bodies and words that are decontextualised can perform a critical function despite not enjoying the usual citational supports necessary for a speech act; and it argues that Busoni's Doktor Faust and his theory of opera were a part of the intellectual prehistory to Butler's conceptualisation of bodily performativity.","PeriodicalId":42672,"journal":{"name":"Cambridge Opera Journal","volume":"34 1","pages":"309 - 337"},"PeriodicalIF":0.3,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44707572","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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