Adaptation and Intermediality: Reflections on Macbeth, Verdi’s Choral Opera
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Revista da ANPOLL (Online) |
Texto Completo: | https://revistadaanpoll.emnuvens.com.br/revista/article/view/1318 |
Resumo: | Opera, a form of musical theatre, is the art of adaptation par excellence, consisting of the integration and fusion of multiple artistic languages. This research paper aims at reflecting on the opera Macbeth (1947/ 1865), by Giuseppe Verdi (1813-1901), based on the homonymous text (1605) by Shakespeare (1564-1616), in the light of theoretical perspectives by Linda and Michael Hutcheon (2011; 2017), Lars Elleström (2017); Hans Ulrich Gumbrecht (2011) and others. Like Richard Wagner (1813-1883), Verdi was one of the first composers concerned with the dramatic and scenic aspects of his operas. Several innovations are attributed to him, including the formulation of mise-en-scène manual and the creation of ambience or Stimmung. As concerns the opera Macbeth, Verdi highlighted the role of the witches through a female chorus of thirty voices for believing they are the driving force of the drama. At the beginning of act four, he introduced a chorus of Scottish exiles to express his own longings for freedom regarding the movement for the unification of Italy. The various specificities of the Verdian opera will be discussed as textual model (libretto), musical composition (score) and dramatic performance (scenic concretization). |
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Adaptation and Intermediality: Reflections on Macbeth, Verdi’s Choral OperaAdaptação e intermedialidade: reflexões sobre Macbeth, a ópera coro de Giuseppe VerdiGiuseppe VerdiMacbethChoral OperaAdaptationIntermedialityGiuseppe VerdiMacbethÓpera CoroAdaptaçãoIntermidialidadeOpera, a form of musical theatre, is the art of adaptation par excellence, consisting of the integration and fusion of multiple artistic languages. This research paper aims at reflecting on the opera Macbeth (1947/ 1865), by Giuseppe Verdi (1813-1901), based on the homonymous text (1605) by Shakespeare (1564-1616), in the light of theoretical perspectives by Linda and Michael Hutcheon (2011; 2017), Lars Elleström (2017); Hans Ulrich Gumbrecht (2011) and others. Like Richard Wagner (1813-1883), Verdi was one of the first composers concerned with the dramatic and scenic aspects of his operas. Several innovations are attributed to him, including the formulation of mise-en-scène manual and the creation of ambience or Stimmung. As concerns the opera Macbeth, Verdi highlighted the role of the witches through a female chorus of thirty voices for believing they are the driving force of the drama. At the beginning of act four, he introduced a chorus of Scottish exiles to express his own longings for freedom regarding the movement for the unification of Italy. The various specificities of the Verdian opera will be discussed as textual model (libretto), musical composition (score) and dramatic performance (scenic concretization).A ópera, uma forma de teatro musical, é a arte da adaptação por excelência, constituída pela integração e fusão de múltiplas linguagens artísticas. A presente pesquisa objetiva refletir sobre a ópera Macbeth (1847-1865), de Giuseppe Verdi (1813-1901), baseada no texto homônimo (1605) de Shakespeare (1564-1616), à luz de perspectivas teóricas de Linda e Michael Hutcheon (2011; 2017), Lars Elleström (2017); Hans Ulrich Gumbrecht (2011) e outras. Assim como Richard Wagner (1813-1883), Verdi foi um dos primeiros compositores preocupados com os aspectos dramáticos e cênicos de suas óperas. São atribuídas a ele diversas inovações, entre elas a formulação do manual da mise-en-scène e a criação de ambiência ou Stimmung. Em relaçãoà ópera Macbeth, Verdi destacou o papel das bruxas por meio de um coro feminino de trinta vozes por acreditar que elas são o elemento propulsor do drama. No início do quarto ato, introduziu o coro dos exilados escoceses com o intuito de expressar seus próprios anseios de liberdade em relação ao movimento de unificação da Itália. As diversas especificidades da ópera verdiana serão discutidas enquanto modelo textual (libreto), composição musical (partitura) e performance dramática (concretização cênica).ANPOLL2019-12-30info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistadaanpoll.emnuvens.com.br/revista/article/view/131810.18309/anp.v1i50.1318Revista da Anpoll; Vol. 1 No. 50 (2019): Estudos Literários; 119-127Revista da Anpoll; v. 1 n. 50 (2019): Estudos Literários; 119-1271982-78301414-7564reponame:Revista da ANPOLL (Online)instname:Associação Nacional de Pós-Graduação e Pesquisa em Letras e Lingüística (ANPOLL)instacron:ANPOLLporhttps://revistadaanpoll.emnuvens.com.br/revista/article/view/1318/1060Copyright (c) 2019 Anna Stegh Camatiinfo:eu-repo/semantics/openAccessCamati, Anna Stegh2019-12-30T18:30:38Zoai:ojs.revistadaanpoll.emnuvens.com.br:article/1318Revistahttps://revistadaanpoll.emnuvens.com.br/revista/indexONGhttps://revistadaanpoll.emnuvens.com.br/revista/oairevistadaanpoll@gmail.com1982-78301414-7564opendoar:2023-01-13T09:48:49.368616Revista da ANPOLL (Online) - Associação Nacional de Pós-Graduação e Pesquisa em Letras e Lingüística (ANPOLL)false |
dc.title.none.fl_str_mv |
Adaptation and Intermediality: Reflections on Macbeth, Verdi’s Choral Opera Adaptação e intermedialidade: reflexões sobre Macbeth, a ópera coro de Giuseppe Verdi |
title |
Adaptation and Intermediality: Reflections on Macbeth, Verdi’s Choral Opera |
spellingShingle |
Adaptation and Intermediality: Reflections on Macbeth, Verdi’s Choral Opera Camati, Anna Stegh Giuseppe Verdi Macbeth Choral Opera Adaptation Intermediality Giuseppe Verdi Macbeth Ópera Coro Adaptação Intermidialidade |
title_short |
Adaptation and Intermediality: Reflections on Macbeth, Verdi’s Choral Opera |
title_full |
Adaptation and Intermediality: Reflections on Macbeth, Verdi’s Choral Opera |
title_fullStr |
Adaptation and Intermediality: Reflections on Macbeth, Verdi’s Choral Opera |
title_full_unstemmed |
Adaptation and Intermediality: Reflections on Macbeth, Verdi’s Choral Opera |
title_sort |
Adaptation and Intermediality: Reflections on Macbeth, Verdi’s Choral Opera |
author |
Camati, Anna Stegh |
author_facet |
Camati, Anna Stegh |
author_role |
author |
dc.contributor.author.fl_str_mv |
Camati, Anna Stegh |
dc.subject.por.fl_str_mv |
Giuseppe Verdi Macbeth Choral Opera Adaptation Intermediality Giuseppe Verdi Macbeth Ópera Coro Adaptação Intermidialidade |
topic |
Giuseppe Verdi Macbeth Choral Opera Adaptation Intermediality Giuseppe Verdi Macbeth Ópera Coro Adaptação Intermidialidade |
description |
Opera, a form of musical theatre, is the art of adaptation par excellence, consisting of the integration and fusion of multiple artistic languages. This research paper aims at reflecting on the opera Macbeth (1947/ 1865), by Giuseppe Verdi (1813-1901), based on the homonymous text (1605) by Shakespeare (1564-1616), in the light of theoretical perspectives by Linda and Michael Hutcheon (2011; 2017), Lars Elleström (2017); Hans Ulrich Gumbrecht (2011) and others. Like Richard Wagner (1813-1883), Verdi was one of the first composers concerned with the dramatic and scenic aspects of his operas. Several innovations are attributed to him, including the formulation of mise-en-scène manual and the creation of ambience or Stimmung. As concerns the opera Macbeth, Verdi highlighted the role of the witches through a female chorus of thirty voices for believing they are the driving force of the drama. At the beginning of act four, he introduced a chorus of Scottish exiles to express his own longings for freedom regarding the movement for the unification of Italy. The various specificities of the Verdian opera will be discussed as textual model (libretto), musical composition (score) and dramatic performance (scenic concretization). |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019-12-30 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revistadaanpoll.emnuvens.com.br/revista/article/view/1318 10.18309/anp.v1i50.1318 |
url |
https://revistadaanpoll.emnuvens.com.br/revista/article/view/1318 |
identifier_str_mv |
10.18309/anp.v1i50.1318 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistadaanpoll.emnuvens.com.br/revista/article/view/1318/1060 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2019 Anna Stegh Camati info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2019 Anna Stegh Camati |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
ANPOLL |
publisher.none.fl_str_mv |
ANPOLL |
dc.source.none.fl_str_mv |
Revista da Anpoll; Vol. 1 No. 50 (2019): Estudos Literários; 119-127 Revista da Anpoll; v. 1 n. 50 (2019): Estudos Literários; 119-127 1982-7830 1414-7564 reponame:Revista da ANPOLL (Online) instname:Associação Nacional de Pós-Graduação e Pesquisa em Letras e Lingüística (ANPOLL) instacron:ANPOLL |
instname_str |
Associação Nacional de Pós-Graduação e Pesquisa em Letras e Lingüística (ANPOLL) |
instacron_str |
ANPOLL |
institution |
ANPOLL |
reponame_str |
Revista da ANPOLL (Online) |
collection |
Revista da ANPOLL (Online) |
repository.name.fl_str_mv |
Revista da ANPOLL (Online) - Associação Nacional de Pós-Graduação e Pesquisa em Letras e Lingüística (ANPOLL) |
repository.mail.fl_str_mv |
revistadaanpoll@gmail.com |
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1797051180242698240 |