Today, Tomorrow, and In-Between: Straub/Huillet, the Schoenbergs, and the Gendered Micropolitics of Operatic Performance in Von heute auf morgen.
Artists who have confronted the politics of collaborative theater have been both drawn to and repelled by opera, intrigued by its aesthetic possibilities, its suspect politics, and its economic entanglements. Central to opera's fascination has also been its complex and manifestly gendered production...
| Publicado en: | Feminist German Studies Vol. 37; no. 1; pp. 86 - 111 |
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| Formato: | Artículo |
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University of Nebraska Press
Spring/Summer2021
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=151018034&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 151018034 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 25785206 MC25 jtl: Feminist German Studies issn: 25785206 maglogo: N pubinfo: dt: Spring/Summer2021 vid: 37 iid: 1 pid: 758 pub: University of Nebraska Press artinfo: ui: 151018034 10.1353/fgs.2021.0000 ppf: 86 ppct: 25 formats: fmt: @attributes: type: P size: 1MB tig: atl: Today, Tomorrow, and In-Between: Straub/Huillet, the Schoenbergs, and the Gendered Micropolitics of Operatic Performance in Von heute auf morgen. aug: au: AMIDON, KEVIN S. affil: Director of the honors college and associate professor of modern languages at Fort Hays State University su: Opera Political theater Gender sug: subj: Opera Political theater Gender ab: Artists who have confronted the politics of collaborative theater have been both drawn to and repelled by opera, intrigued by its aesthetic possibilities, its suspect politics, and its economic entanglements. Central to opera's fascination has also been its complex and manifestly gendered production of texts, voices, and performances. This essay explores the 1929 one-act opera Von heute auf morgen by the librettist-composer team of Gertrud and Arnold Schoenberg, and a collaborative filmic performance of it in the 1996 film of the same name by the directorial-production team of Danièle Huillet and Jean-Marie Straub (musical direction by Michael Gielen). These two documents of operatic collaboration, along with the paired intertexts made up of the Straub/Huillet-Gielen film version of Arnold Schoenberg's Moses und Aron (1974-75), interrogate the complex field of attention to reveal its links to the aesthetics of gender, performance, and agency. Thus emerges an essential performative micropolitics embodying potential resistance to the opera's political economy of gendered domination. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Feminist German Studies is the property of University of Nebraska Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Feminist German Studies holder: University of Nebraska Press dt: @attributes: year: 2021 holdings: @attributes: islocal: N |
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