Description
Book SynopsisBetween 1955 and 1975 music theatre became a central preoccupation for European composers digesting the consequences of the revolutionary experiments in musical language that followed the end of the Second World War. The new music theatre' wrought multiple, significant transformations, serving as a crucible for the experimental rethinking of theatrical traditions, artistic genres, the conventions of performance, and the composer's relation to society. This volume brings together leading specialists from across Europe to offer a new appraisal of the genre. It is structured according to six themes that investigate: the relation of new music theatre to earlier and contemporaneous theories of drama; the use of new technologies; the relation of new music theatre to progressive politics; the role of new venues and environments; the advancement of new conceptions of the performer; and the challenges that new music theatre lays down for music analysis. Contributing authors address ca
Trade Review
This excellent collection of insightful, rich, and sometimes genuinely provocative readings of a kaleidoscope of music theatrical practices from a diverse, but uniformly first-rate panel of scholars, consistently delivers fresh insights into not only what the music theatre of the post-war era meant then, but also how it might still speak today. - Martin Iddon, University of Leeds, UK
With a strong array of contributors, this collection reveals how conceptions of music theatre from the long 1960s challenged established conventions of music. The volume combines historical depth with insights on how trends in music theatre resonate with the current interest in music as a multi-media experience. - Alastair Williams, Keele University, UK
Table of ContentsIntroduction 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 II: 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. 1950–1970 ANDREAS MÜNZMAY
PART III: 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 IV: 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 V: 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 VI: 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
