Fra glemte værker til iscenesættelse som form

Hotel Pro Formas opsætning af Rachmaninov Troika

Forfattere

  • Kathrine Winkelhorn
  • Anja Mølle Lindelof

DOI:

https://doi.org/10.7146/peri.v13i25.109577

Nøgleord:

Hotel Pro Forma, opera, iscenesættelse, værkbegrebet, Rachmaninov

Resumé

“Opera is an omnivorous monster. Opera is the result of countless skilled craftsmen, technicians, musicians, singers, artists and administrators work. Opera is passion. Opera is lie and truth in the purest form” as stage director Kirsten Dehlholm wrote in the program to Rachmaninov Troika – hers and Hotel Pro Forma’s staging of Sergei Rachmaninoff’s three operas: Aleko, The Miserly Knight and Fransisca da Rimini produced by the Belgian opera, La Monnaie in Brussels, June 2015 - the first time these three operas were being staged together. In this article we discuss the concept of the art work by examining how Rachmaninov Troika balances between 1) revitalizing these three more or less forgotten music historical operas and/or is creating a new piece of work.

Referencer

Auslander, Philip. Musical Personae TDR. Journal of Performance Studies, Vol 50 No 1. Spring 2006
Bishop, Claire., 2012. Artificial hells: participatory art and the politics of spectatorship. London: Verso.
Cook, Nicholas. (2013) Beyond the Score. Oxford og New York: Oxford University
Cook & Everist (1999). Rethinking Music. Oxford University Press, Oxford
Christoffersen, Erik Exe og Winkelhorn, Kathrine (2015). Skønhedens Hotel. Hotel Pro Forma, Et laboratorium for scenekunst, Aarhus Universitetsforlag
Dehs, Jørgen (2012). Det autentiske. Fortællinger om nutidens kunstbegreb. Forlaget Vandkunsten, København.
Eigtved, Michael (2003). Forestillinger: Cross-over på scenen. Rosinante, København
Forsare, Malena og Lindelof, Anja Mølle (2013). Publik i Perspektiv, Teaterarbeite i Öresundsregionen. Makadam Förlag, Stockholm,
Goehr, Lydia (1992). The Imaginary Museum of Musical Works: En assay in the Philosophy of Music. Clarendon Press, Gloucestershire
Kalkau, Sophia (1996): Æstetik… at svare verden igen med værket, Basilisk Babel, København Klaptor, Rachel Elizabet (2010): Maturing through criticism: Sergei Rachmannov’s operativ development and his unfinished opera, Monna Vanna. Master thesis. Indiana University of Pennsylvania, Master of arts.
Lindelof, Anja M. og Hansen, Louise Ejgod. “Teatersamtaler: Publikumsudvikling gennem dialog.” Publik i Perspektiv: Teaterarbete i Öresundsregionen. 2013. p137-157 Makadam Förlag: Göteborg.
Pearson, Mike. (2010) Site specific performance. Palgrave MacMillan, London
Rasmussen, Karl Aage (2001). Den kreative Løgn. Tolv Kapitler om Glenn Gould. Gyldendal, København.
Reason and Sedgman: Theatre Audiences. Editors general introduction. Particip@tions, vol 12, issue 1, May 2015 http://www.participations.org/Volume%2012/Issue%201/15.pdf Reason
Sauter, Wilmar (2000). The Theatrical Event. Dynamics of Performance and Perception. Iowa City: University of Iowa Press, Iowa City
Small, Christopher (1998). Musicking: The Meanings of Performing and Listening. Wesleyan University Pres,. London.
Taruskin, Richard: “Aleko”, “Francesca da Rimini” og “Miserly Knight, The” In The New Grove Dictionary of Opera. Ed. Deane Root. Grove Music Online, http:///www.oxfordmusiconline.com

Downloads

Publiceret

2021-05-28

Citation/Eksport

Winkelhorn, K., & Mølle Lindelof, A. (2021). Fra glemte værker til iscenesættelse som form: Hotel Pro Formas opsætning af Rachmaninov Troika. Peripeti, 13(25), 64–75. https://doi.org/10.7146/peri.v13i25.109577

Nummer

Sektion

Hotel Pro Forma 1985-2015