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|Title:||Hybridised Performance: Disruption and Deferment in Wagner’s Tristan and Isolde|
|Keywords:||Tristan and Isolde;Hybridity;multi-layeredness;heterogeneity;Richard Wagner;esamtkunstwerk|
|Publisher:||Open Library of Humanities|
|Citation:||Body, Space and Technology, 2018, 17 (1), pp. 95 - 117 (22)|
|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.|
|Appears in Collections:||Dept of Arts and Humanities Research Papers|
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