Opera and the Novel: The Case of Henry JamesRodopi, 2005 - 494 páginas Opera and the Novel: The Case of Henry James offers the first full-length study of the theory and practice of the adaptation of fiction into opera: the transference of a work from one medium to another - metaphrasis - is its point of departure. Starting with a survey of the current thinking regarding the nexus between words and music with specific reference to operatic adaptation of existing literary works, it traces the four-hundred-year history of opera, demonstrating that the novel has become increasingly attractive to librettists and composers as an operatic source. As the resources of modern music theatre have increased in sophistication, so too have the possibilities for an expanded engagement with complex fictional works. The intricate relationship between fictional and musical narrative is examined: the proposition that the orchestra assumes much of the function of the narrator in fiction is explored. The second section is a detailed examination of eight operatic works based on Henry James's fiction. It is opera's unique capability to present the intense emotional and psychological situations central to James's fiction as well as the ability to engage with his synthesis of melodrama and psychological ambiguity which makes James's work peculiarly amenable to operatic adaptation. Composers who have used James as a source include Douglas Moore, Benjamin Britten, Thomas Pasatieri, Donald Hollier, Thea Musgrave, Philip Hagemann and Dominick Argento. The operas discussed represent a contemporary critical and often self-conscious engagement with the art form itself as well as illustrating current adaptive strategies, and suggest ways in which new operatic paths may be forged. This volume is of relevance to students and scholars of English literature and opera as well as readers who take an interest in intermedial research and the question of adaptation in general. |
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Página 5
... occurs when a verbal text is ' adapted ' into an opera is indicated by Dahl- haus's comment that the form ( the rhythmic and syntactical structure ) of a text , which is inseparable from the content , is largely destroyed in opera and ...
... occurs when a verbal text is ' adapted ' into an opera is indicated by Dahl- haus's comment that the form ( the rhythmic and syntactical structure ) of a text , which is inseparable from the content , is largely destroyed in opera and ...
Página 24
... occurs in tandem with the growth in size and power of the orchestra , and it is these new reserves of power and colour which en- able composers to turn to the wide range and large scale of the sub- ness lies in his capacity to give ...
... occurs in tandem with the growth in size and power of the orchestra , and it is these new reserves of power and colour which en- able composers to turn to the wide range and large scale of the sub- ness lies in his capacity to give ...
Página 35
... occur in most operatic adaptations from fictional sources , including James . Despite its frequent use , the term ... occurs - the proc- ess I have termed ' metaphrasis ' . Of course , metaphrasis calls into question the privilege or ...
... occur in most operatic adaptations from fictional sources , including James . Despite its frequent use , the term ... occurs - the proc- ess I have termed ' metaphrasis ' . Of course , metaphrasis calls into question the privilege or ...
Página 37
... occurs . On the surface there might be consider- able similarity between the adaptation and the original , but the ad- aptation differs substantially from the original and could be seen as a ' deconstruction ' of the source material ...
... occurs . On the surface there might be consider- able similarity between the adaptation and the original , but the ad- aptation differs substantially from the original and could be seen as a ' deconstruction ' of the source material ...
Página 40
... occurs that operatic adaptors will often seek in the narrative . The musical environment that is created by the orchestra is shared by all the characters who are part of its ' text ' . This ' orchestral narra- tor ' ( this concept will ...
... occurs that operatic adaptors will often seek in the narrative . The musical environment that is created by the orchestra is shared by all the characters who are part of its ' text ' . This ' orchestral narra- tor ' ( this concept will ...
Índice
1 | |
19 | |
45 | |
85 | |
James Structure Scene and Picture | 103 |
The Turn of the Screw | 117 |
The Wings of the Dove | 161 |
Owen Wingrave | 221 |
The Last of the Valerii | 267 |
Washington Square | 303 |
The Aspern Papers | 361 |
Conclusion | 429 |
Appendix | 437 |
Bibliography | 479 |
Outras edições - Ver tudo
Palavras e frases frequentes
action ambiguity appears argues aria Ariadne aspect Aspern Papers audience Barelli becomes Benjamin Britten Britten Cath Catherine Catherine's composer consciousness Count Countess course Coyle death Densher describes dialogue discourse discussion Dominick Argento Douglas Moore Dr Sloper drama duet effect element emotional film final Flora frequently ghosts governess governess's Grose Henry James Hollier ibid James's tale Juliana Kate Kate's Lavinia Lechmere librettist libretto Lodger Lord Mark Maud Medea melodrama Miles Miles's Milly Milly's Miss Giddens Miss Jessel Morris Morris's narrative narrator narrator's notes novel observes operatic adaptation operatic characters orchestra Owen Wingrave Owen's Paramore Pasatieri Penniman performance perhaps play portrait present psychological Quint relationship reveals says scene Screw seen sense similar singing situation song Sonia stage story structure suggests Susan tells theatre theatrical theme Thomas Pasatieri Tina tion Venice vocal line voice Voice of Ariadne Washington Square words
Passagens conhecidas
Página 151 - And it came to pass, when the evil spirit from God was upon Saul, that David took an harp, and played with his hand: so Saul was refreshed, and was well, and the evil spirit departed from him.
Página 36 - For this reason, one text is potentially capable of several different realizations, and no reading can ever exhaust the full potential, for each individual reader will fill in the gaps in his own way...
Página 94 - Nothing is spared because nothing is left unsaid; the characters stand on stage and utter the unspeakable, give voice to their deepest feelings, dramatize through their heightened and polarized words and gestures the whole lesson of their relationship. They assume primary psychic roles, father, mother, child, and express basic psychic conditions.
Página 119 - Only make the reader's general vision of evil intense enough, I said to myself— and that already is a charming job— and his own experience, his own imagination, his own sympathy (with the children) and horror (of their false friends) will supply him quite sufficiently with all the particulars.
Página 135 - It may be, of course, above all, that what suddenly broke into this gives the previous time a charm of stillness — that hush in which something gathers or crouches. The change was actually like the spring of a beast.
Página 178 - It wasn't, in a word, simply that their eyes had met; other conscious organs, faculties, feelers had met as well, and when Kate afterwards imaged to herself the sharp deep fact she saw it, in the oddest way, as a particular performance. She had observed a ladder against a garden-wall and had trusted herself so to climb it as to be able to see over into the probable garden on the other side. On reaching the top she had found herself face to face with a gentleman engaged in a like calculation at the...
Página 59 - Mahagonny pays conscious tribute to the senselessness of the operatic form. The irrationality of opera lies in the fact that rational elements are employed, solid reality is aimed at, but at the same time it is all washed out by the music. A dying man is real. If at the same time he sings we are translated to the sphere of the irrational.
Página 174 - He had never dreamed of anything so fringed and scalloped, so buttoned and corded, drawn everywhere so tight, and curled everywhere so thick. He had never dreamed of so much gilt and glass, so much satin and plush, so much rosewood and marble and malachite. But it was, above all, the solid forms, the wasted finish, the misguided cost, the general attestation of morality and money, a good conscience and a big bal\They revealed it to him by their merciless difference.