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Staging Voice is a unique approach to the aesthetics of voice and its staging in performance.
This study reflects on what it would mean to take opera’s decisive attribute—voice—as the foundation of its staged performance. The book thinks of staging through the medium of voice. It is a nuances exploration, which brings together scholarly and directorial interpretations, and engages in detail with less frequently performed works of major and influential 20th century artists--Erik Satie, Bertolt Brecht and Kurt Weill--as well as exposes readers to an innovative experimental work of Evelyn Ficarra and Valerie Whittington. The study is intertwined throughout with the author’s staging of the works accessible online.
This book will be of great interest to students and scholars in voice studies, opera, music theatre, musicology, directing, performance studies, practice-based research, theatre, visual art, stage design and cultural studies.
Table of Contents
Chapter 1: Staging A Vulnerable Voice: Weill and Brecht’s Der Jasager (1930)
‘Music… goes its own vast peaceful way’
Translations and Transformations
Yes and No
Yes-singing and Mute Agreement
Doubling and Muteness
Acrobat, Measure, Distance, Scale
Chapter 2: Binding the Voice: Ficarra and Whittington’s The Empress’s Feet (1995)
A Voice for the Feet
The Empress’s Feet
Chapter 3: Staging Thought in Satie’s Socrate (1919)
Voice and Music Echoed in Staging and Set
Staging Musical Myth
Staging Socrates’s Death
Michal Grover-Friedlander is Associate Professor of Musicology and head of the Musicology Department at Tel Aviv University. Her first monograph, Vocal Apparitions: Cinema’s Attraction to Opera, was published by Princeton University Press in 2005. Her second book, Operatic Afterlives was published by Zone Books in 2011. She is artistic founder and director of the experimental opera ensemble Ta Opera Zuta.