Posts Tagged ‘operatic theatre’

Means of defence and traumas II, by Sonia Arienta

Did you ever think that when we refer to operatic theatre in Italy our mind immediately runs straight on to two types of approach? The melomaniac one and the “indifferent” one. The last includes he who feels oneself ignorant, inadequate in this field thanks to one’s own choice or to an imposition due to a cultural lack produced by a deficit in national cultural politics. Behind the indifference of such a potential audience it’s often easy to find an awe towards the score pages. Towards all that belongs to the misterious world made of staves and notes. Full score too often is felt as a cage where the spectator fears of to be caught in, just in reason of the incapability of reading it, victim of the musical illiteracy imposed and decreeted from above. Towards operatic music it has been open a campaign of methodical displacement and disinformation…
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Space in operatic theatre

Space and sound are strictly tied in operatic theatre, so much as to be a constitutive element of this musical genre.
On the other hand, they translate in visual and acoustic way two universal categories of thinking: space and time.
They make be “visible” to audience the space-time flow of the existence, materialised on the stage, according to historical and cultural exigences.In Opera, considerations linked with space-time binomial touch very numerous domains, as it’s easy to guess, they open various areas of research and meditations, so stimulating not only for specialists.
Such a matter put who considers it to face with a giant commode, a monumental cupboard, with a lot of drawers, double-bottoms, door, little doors, secret corners. Especially if are utilised as working tools ideas borrowed from philosophy, sociology, anthropology, psychoanalysis, perception’s theory, literary criticism, further from music history, and architecture…
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Collateral Effects, by Sonia Arienta

A dying out species?

In Italy, Opera and music in general are expelled from high school teaching, except in experimental institutes or in classes with amateurs-teachers inclined to diffuse among pupils informations about them. Yet, in Nineteenth century Italy national culture the importance of operatic theatre should have attracted a strong attention by the part of Education Secretary, since the State foundation. Instead, music and opera, in particular, were ignored in educational programming, as if “Promessi sposi” by Alessandro Manzoni, La Traviata by Giuseppe Verdi or Guillaume Tell by Gioachino Rossini had different rights or different credits for a young mind education, born and living in italian peninsula…
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