332 pages | 59 B/W Illus.
Between 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: these 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 canonical works by composers such as Berio, Birtwistle, Henze, Kagel, Ligeti, Nono and Zimmermann, but also expand the field to figures and artistic developments not regularly represented in existing music histories. Particular attention is given to new music theatre as a site of intense exchange – between practitioners of different art forms, across national borders, and with diverse mediating institutions.
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 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
Series Advisory Board: Robert Adlington, Esteban Buch, Mark Delaere, Giovanni Giuriati, Wolfgang Rathert
The series Musical Cultures of the Twentieth Century adopts a collaborative model for the study of key issues in twentieth-century music. The basis for each volume is a conference drawing together leading scholars from across Europe and beyond; conference themes are determined by the series’ distinguished international advisory board, with a view to developing new knowledge and understanding that reflects dialogue between scholars of different nationalities and theoretical backgrounds. Particular emphasis is placed upon recognition of the multiplicity of conceptions, artefacts, events and communities which characterised musical life in the last century. Accordingly, individual volumes seek to interrogate themes that encompass diverse musical genres and disciplinary perspectives.
The series was conceived as a project of the Institute of Music of the Giorgio Cini Foundation, Venice, where many of the conferences are convened.