Rape at the Opera
The most-performed operas today were written at least a hundred years ago and carry some outdated and deeply problematic ideas. When performed uncritically, the misogyny, racism, and other ideologies present in many of these works clash with modern sensibilities. In Rape at the Opera, Margaret Cormi...
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| Հիմնական հեղինակ: | |
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| Ձևաչափ: | Online |
| Լեզու: | անգլերեն |
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University of Michigan Press
2023
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| Խորագրեր: | |
| Առցանց հասանելիություն: | OCN: 1382580000 |
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| _version_ | 1869515725272514560 |
|---|---|
| author | Cormier, Margaret |
| author_browse | Cormier, Margaret |
| author_facet | Cormier, Margaret |
| author_sort | Cormier, Margaret |
| collection | Directory of Open Access Books |
| description | The most-performed operas today were written at least a hundred years ago and carry some outdated and deeply problematic ideas. When performed uncritically, the misogyny, racism, and other ideologies present in many of these works clash with modern sensibilities. In Rape at the Opera, Margaret Cormier argues that production and performance are vital elements of opera, and that contemporary opera practitioners not only interpret but create operatic works when they put them onstage. Where some directors explicitly respond to contemporary dialogues about sexual violence, others utilize sexual violence as a surefire way to titillate, to shock, and to generate press for a new production.
Drawing on archival footage as well as attendance at live events, Cormier analyzes productions of canonic operas from German, Italian, and French traditions from the eighteenth to the early twentieth century, including Die Entführung aus dem Serail, Don Giovanni, La forza del destino, Un ballo in maschera, Salome, and Turandot. In doing so, Cormier highlights the dynamism of twenty-first-century opera performance practice with regard to sexual violence, establishes methods to evaluate representations of sexual violence on the opera stage, and reframes the primary responsibility of opera critics and creators as being not to opera composers and librettists but to the public. |
| format | Online |
| id | doab-20.500.12854ir-121884 |
| institution | Directory of Open Access Books |
| language | eng |
| publishDate | 2023 |
| publishDateRange | 2023 |
| publishDateSort | 2023 |
| publisher | University of Michigan Press |
| publisherStr | University of Michigan Press |
| record_format | ojs |
| spelling | doab-20.500.12854ir-1218842025-03-20T23:43:37Z Rape at the Opera Cormier, Margaret sexual violence, rape, sexual assault, opera, opera canon, canonic operas, opera production, opera in performance, feminist analysis, care ethics, critical production, Regietheater, Regieoper, trauma, rape myths, rape stereotypes, agency, war rape, rape as a metaphor, intimacy direction, intimacy choreography, opera direction, opera director, concept production, adaptation, Don Giovanni, Die Entführung aus dem Serail, Salome, Guillaume Tell, Turandot, La forza del destino, Un ballo in maschera The most-performed operas today were written at least a hundred years ago and carry some outdated and deeply problematic ideas. When performed uncritically, the misogyny, racism, and other ideologies present in many of these works clash with modern sensibilities. In Rape at the Opera, Margaret Cormier argues that production and performance are vital elements of opera, and that contemporary opera practitioners not only interpret but create operatic works when they put them onstage. Where some directors explicitly respond to contemporary dialogues about sexual violence, others utilize sexual violence as a surefire way to titillate, to shock, and to generate press for a new production. Drawing on archival footage as well as attendance at live events, Cormier analyzes productions of canonic operas from German, Italian, and French traditions from the eighteenth to the early twentieth century, including Die Entführung aus dem Serail, Don Giovanni, La forza del destino, Un ballo in maschera, Salome, and Turandot. In doing so, Cormier highlights the dynamism of twenty-first-century opera performance practice with regard to sexual violence, establishes methods to evaluate representations of sexual violence on the opera stage, and reframes the primary responsibility of opera critics and creators as being not to opera composers and librettists but to the public. 2023-11-17T08:52:23Z 2023-11-17T08:52:23Z 2023-11-16T10:33:32Z 2024 book OCN: 1382580000 https://library.oapen.org/handle/20.500.12657/85157 9780472076291 9780472056293 https://directory.doabooks.org/handle/20.500.12854/121884 eng Music and Social Justice open access image/jpeg image/jpeg image/jpeg image/jpeg image/jpeg Attribution-NonCommercial 4.0 International Attribution-NonCommercial 4.0 International Attribution-NonCommercial 4.0 International Attribution-NonCommercial 4.0 International Attribution-NonCommercial 4.0 International https://library.oapen.org/bitstream/20.500.12657/85157/1/9780472903634.pdf https://library.oapen.org/bitstream/20.500.12657/85157/1/9780472903634.pdf https://library.oapen.org/bitstream/20.500.12657/85157/1/9780472903634.pdf https://library.oapen.org/bitstream/20.500.12657/85157/1/9780472903634.pdf https://library.oapen.org/bitstream/20.500.12657/85157/1/9780472903634.pdf University of Michigan Press 10.3998/mpub.12324662 10.3998/mpub.12324662 b7359529-e5f7-4510-a59f-d7dafa1d4d17 9780472076291 9780472056293 211 open access |
| spellingShingle | sexual violence, rape, sexual assault, opera, opera canon, canonic operas, opera production, opera in performance, feminist analysis, care ethics, critical production, Regietheater, Regieoper, trauma, rape myths, rape stereotypes, agency, war rape, rape as a metaphor, intimacy direction, intimacy choreography, opera direction, opera director, concept production, adaptation, Don Giovanni, Die Entführung aus dem Serail, Salome, Guillaume Tell, Turandot, La forza del destino, Un ballo in maschera Cormier, Margaret Rape at the Opera |
| title | Rape at the Opera |
| title_full | Rape at the Opera |
| title_fullStr | Rape at the Opera |
| title_full_unstemmed | Rape at the Opera |
| title_short | Rape at the Opera |
| title_sort | rape at the opera |
| topic | sexual violence, rape, sexual assault, opera, opera canon, canonic operas, opera production, opera in performance, feminist analysis, care ethics, critical production, Regietheater, Regieoper, trauma, rape myths, rape stereotypes, agency, war rape, rape as a metaphor, intimacy direction, intimacy choreography, opera direction, opera director, concept production, adaptation, Don Giovanni, Die Entführung aus dem Serail, Salome, Guillaume Tell, Turandot, La forza del destino, Un ballo in maschera |
| topic_facet | sexual violence, rape, sexual assault, opera, opera canon, canonic operas, opera production, opera in performance, feminist analysis, care ethics, critical production, Regietheater, Regieoper, trauma, rape myths, rape stereotypes, agency, war rape, rape as a metaphor, intimacy direction, intimacy choreography, opera direction, opera director, concept production, adaptation, Don Giovanni, Die Entführung aus dem Serail, Salome, Guillaume Tell, Turandot, La forza del destino, Un ballo in maschera |
| url | OCN: 1382580000 |
| work_keys_str_mv | AT cormiermargaret rapeattheopera |