Roesner, D.P. (2010) Musicking as mise-en-scne. Studies in Musical Theatre, 4 (1). pp. 89-102. ISSN 1750-3159.
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Using a production of Euripides' Phoenissae I supervised and directed at the Universitt Hildesheim in 2004 as a main example, this article seeks to explore in which ways making music (or better, in Christopher Small's term, musicking) can become a central dramaturgical, narrative and performative driver of the mise-en-scne. In the given case it resulted in a hybrid of performative genres and contained elements of a concert, an installation, a story-telling event, straight theatre and chorus recitation. Through this hybridization the production questioned the nature of the following relationships: (1) Music/stage: the production stretched the notion of music on stage to music with the stage. The stage was equally a performative space, a sound box and sonic space. (2) Performer/character: the production questioned the role of the performers who continually oscillated between being actors, narrators, chorus and musicians. Musicking became performative action and vice versa. (3) Performance/narrative: musicking, spatial design, visual imagery and the audience's interpretative reception intertwined to introduce forms of theatrical narrative that I will argue to be emergent.
|Additional information:||Paper given at the international conference Music on Stage, Rose Bruford College, 18.-19.10.2008.|
|Uncontrolled keywords:||hybridity, narrativity, musician performer, emergence, Euripides, musicking|
|Subjects:||M Music and Books on Music > M Music
P Language and Literature > PN Literature (General) > PN2000 Dramatic representation. The Theatre
|Divisions:||Faculties > Humanities > School of Arts|
|Depositing User:||David Roesner|
|Date Deposited:||28 Aug 2012 13:08|
|Last Modified:||28 Aug 2012 14:44|
|Resource URI:||http://kar.kent.ac.uk/id/eprint/30274 (The current URI for this page, for reference purposes)|
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