April 22, 2019 Forthcoming
Reference - 344 Pages - 59 B/W Illustrations
ISBN 9781138323018 - CAT# K392030
Series: Musical Cultures of the Twentieth Century
The new music theatre of the third quarter of the twentieth century presents a research field of great richness. In these years, music theatre became one of the main preoccupations for (especially) young composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. Despite the importance of ‘music theatre’ in this period, many significant works are now almost forgotten, and very few regularly revived, often because of the inadequacies of surviving notations or the unusual demands of staging. New music theatre between 1955 and 1975 challenged accepted genre categories, but in so doing often failed to find a secure place in the repertory. The use of different national languages, and the close relationship with local trends in other kinds of theatre, also militated against the spread of works’ reputations internationally.
The volume takes as a focus the idea of ‘transformation’, for instance, to historical approaches to the conjoining of music and staged action; to conceptions of music and musical performance; to the afterlives of theories of drama developed originally in the spoken theatre; to composers’ conceptions of their relation to wider society; and to new music theatre itself as it developed through the twenty-year period that is the focus of this book. The volume presents new music theatre as a site of intense exchange – between practitioners of different art forms, across national borders, and with artistic institutions and changing consumer technologies. Suitably, the volume itself is the outcome of a process of international and intradisciplinary exchange between leading scholars with diverse competencies, offering new insights into a period of great significance within recent music history.
Introduction ROBERT ADLINGTON PART I: Between the avant-gardes: new music theatre and new conceptions of drama 1. The definition of a new performance code between ‘avant-garde’ and ‘new’ theatre STEFANIA BRUNO 2. Total theatre and music theatre: tracing influences from pre- to post-war avant-gardes JULIA H. SCHRÖDER 3. Theatre as problem: modern drama and its influence in Ligeti, Pousseur and Berio VINCENZINA C. OTTOMANO PART 2: Expansions of technology 4. Audio-visual collisions: moving image technology and the Laterna Magika aesthetic in new music theatre HOLLY ROGERS 5. Composing new media: magnetic tape technology in new music theatre, c. 1950–1970ANDREAS MÜNZMAY PART 3: The critique of established power 6. Guerrilla in the Polder: Music-Theatrical Protests in the Low Countries, 1968-1969 HARM LANGENKAMP 7. René Leibowitz’s Todos caerán: grand opéra as (critique of) new music theatreESTEBAN BUCH PART 4: New venues and environments 8. A survey of new music theatre in Rome, 1961-1973: ‘anni favolosi’?ALESSANDRO MASTROPIETRO 9. Avant-garde music theatre: the Festival d’Avignon between 1967 and 1969 JEAN-FRANÇOIS TRUBERT PART 5: Reconceiving the performer 10. Reconceptualising the performer in new music theatre: collaborations with actors, mimes and musicians DAVID BEARD 11. Embodied commitments: solo performance and the making of new music theatre FRANCESCA PLACANICA PART 6: Analyzing new music theatre 12. New music theatre and theories of embodied cognition BJÖRN HEILE 13. Analyzing new music theatre: theme and variations (in a multimedial perspective) ANGELA IDA DE BENEDICTIS