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  • Knust, Martin, 1973- (författare)
  • Die Bühnengestik im 19. Jahrhundert : Quellen und Ansätze einer szenisch-musikalischen Rekonstruktion
  • 2011
  • Ingår i: Musiktheorie. - Laaber : Laaber-Verlag. - 0177-4182. ; s. 325-344
  • Tidskriftsartikel (refereegranskat)abstract
    • This article discusses the possibilities of a reconstruction of the operatic gestures of the 19th century. It presents the different types of sources required for it and even some methodic approaches to use them practically. Such a reconstruction would be fruitful for musicology as well as for the historical informed performance practice. As a tool for research it would help to explain some specific features of 19th-century dramatic music, which partly germinated from a genuinely gestural impulse. Concerning the artistic practice a reconstruction of the ancient physical delivery could enrich the performance practice of opera; this applies not only to the optical component, the stage, but also to the interpretation of music since the wide range and highly expressive style of theatrical gestures of that time might also have a strong impact on the singer’s vocal delivery.
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  • Bork Petersen, Franziska (författare)
  • Do you really feel like the outside matches the inside : Der authentische Körper im Wandel der Zeit
  • 2013
  • Ingår i: Medialität und Menschenbild. - Walter de Gruyter. - 9783110275964 - 978-3-11-027617-6 ; s. 85-99
  • Bokkapitel (övrigt vetenskapligt)abstract
    • The concept of an authentic person who makes his/her ‘true inner’ visible on the body’s surface reappears as an ideal throughout history. What has undergone significant changes, however, is what exactly constitutes authentic bodily appearance. What ‘inner’ is represented and how exactly is it made visible on the body? My article focuses on two instances in which stagings of the authentic body represent an important issue: First in the French Enlightenment and subsequently in contemporary makeover culture (which originated in the Western world, but is no longer limited to it).Images of bodies revealing their ‘true inner’ took on particular importance in the Enlightenment when writers such as Rousseau used them as counterpoints to what they rejected as the ancien regime ’s affected bodies. One might assume today –in the aftermath of late 20th century poststructuralism, postmodernism and feminism –that any notion of bodily ‘authenticity’ or for that matter ‘essential selfhood’ would be curtly dismissed. Yet, the image of an authentic body that reveals a ‘deserving’ inner self is exactly what is staged in most popular media today.18th century acting theories suggested that ‘naturally expressive’ gestures could be conveyed –indeed reveal feelings –without any mediation. What has changed since then, I will argue, is that the ideal authentic body in makeover-culture has to be thoroughly and visibly worked for.
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