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Title: | Hybridised Performance: Disruption and Deferment in Wagner’s Tristan and Isolde |
Authors: | Broadhurst, S |
Keywords: | Tristan and Isolde;hybridity;multi-layeredness;heterogeneity;Richard Wagner;Gesamtkunstwerk;‘total art-work’;Schopenhauer;Nietzsche;music-drama;synaesthesia;Liebestod;‘Tristan Chord’ |
Issue Date: | 2018 |
Citation: | Broadhurst, S. (2018) 'Hybridised Performance: Disruption and Deferment in Wagner’s Tristan and Isolde', Body, Space and Technology, 17, pp. 95 - 117 (22). doi: 10.16995/bst.298. |
Abstract: | The following focusses on aspects of hybridised multi-layered performance as seen in Wagner’s Tristan and Isolde, recently in a new production at the English National Opera (ENO). The notion of Wagner’s, ‘Gessamtkunstwerk’ (his own spelling) is particularly relevant, as are the influences of Schopenhauer’s ‘Philosophy of Pessimism’ and to a lesser extent Nietzsche’s apologias. There are nuances within music and libretto which invoke all of these in the work’s treatment of Liebestod, self-immolating romantic passion. This production was conducted by Edward Gardner, directed by Daniel Kramer, and designed by Anish Kapoor with digital assistance from Frieder Weiss. |
URI: | https://bura.brunel.ac.uk/handle/2438/16191 |
DOI: | https://doi.org/10.16995/bst.298 |
Appears in Collections: | Dept of Arts and Humanities Research Papers |
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