Musicality as a paradigm for the theatre – a kind of manifesto

Roesner, David P. (2010) Musicality as a paradigm for the theatre – a kind of manifesto. Studies in Musical Theatre, 4 (3). pp. 293-306. ISSN 1750-3159. (Full text available)

Abstract

In a manifesto of ten theses the author aims to establish the notion of \"musicality\" as a paradigmatic principle in creating and perceiving theatre. He outlines how musicality can contribute to, enhance and change working processes in the theatre, be it in naturalistic productions or in a devising context. Key benefits from employing a musical frame of perception for both audiences and practitioners, he argues, are the heightened awareness of form, the productive liberation from the dominance of content and discoursive meaning, the self-reflexivity and the potential for a politics of form and perception. The article draws particularly on examples of recent theatre production from the European (and particularly German-speaking) context, for example by Heiner Goebbels, Michael Thalheimer, Ruedi Häusermann or Sebastian Nübling, and the author plans to develop this necessarily reductive manifesto into a wider and historically more far reaching project ion the near future.

Item Type:	Article
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 12:36 UTC
Last Modified:	07 Aug 2018 09:31 UTC
Resource URI:	https://kar.kent.ac.uk/id/eprint/30256 (The current URI for this page, for reference purposes)