Colloquy: Sexual Violence in Opera: Scholarship, Pedagogy, and Production as Resistance

Cusick, Suzanne G.; Hershberger, Monica A.; Will, Richard; Baranello, Micaela; Gordon, Bonnie; Hisama, Ellie M.

doi:10.1525/jams.2018.71.1.213

Journal of the American Musicological Society

2018

DOI: 10.1525/jams.2018.71.1.213

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Colloquy: Sexual Violence in Opera: Scholarship, Pedagogy, and Production as Resistance

Suzanne G. Cusick¹,

Monica A. Hershberger²,

Richard Will³

et al.

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Cited by 5 publications

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Production as Criticism: Staging Wartime Rape in the Opera Canon

Cormier

2023

OPR

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This article explores contemporary representations of wartime sexual violence on the operatic stage. Rape and the threat of rape loom over many operas in the canon, but even those operas that do not thematise rape may have sexual violence introduced to them in performance. Through analysis of four twenty-first century productions, I consider how the idea of sexual violence works in these wartime stories. Staging the implicit or explicit sexual violence in canonic operas can, in the best cases, allow for nuanced commentary on the subject in our cultural moment. But putting sexual violence on stage is controversial and can pose real risks to audience members. Instead of dismissing the proliferation of depictions of rape in wartime opera productions as mere scandalmongering, I explore specific representations through a feminist ethical framework, and ask: What do we risk and what might we gain by putting rape on stage in these operas?

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Production as Criticism: Staging Wartime Rape in the Opera Canon

Cormier

2023

OPR

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Fifty Shades of Bluebeard? Dukas'sAriane et Barbe-Bleuein the Twenty-First Century

Watson¹

2018

Twentieth-Century Music

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With the appearance of opera videos in 2013 (DVD) and 2015 (YouTube), Paul Dukas's Ariane et Barbe-Bleue (1907) has been revived for twenty-first-century audiences. Not only has this formerly obscure work migrated to a mass-media landscape of personalized digital consumption, but its cultural recontextualization has also been extended to the interpretations staged in those opera videos. Both challenge historical, feminist readings of Ariane. Updating the action to modern scenes of abduction and captivity, these productions recast Ariane as victim and reframe the opera as part of the present discourse on sexual violence. As these recent productions of Ariane resonate with broader aesthetic tendencies in current popular culture, I trace parallels between the opera and three such examples from 2015. Selecting works that exemplify the trend of repackaging the Bluebeard tale as contemporary drama, I cite the films Fifty Shades of Grey and Room, and the Netflix series The Unbreakable Kimmy Schmidt.

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Seeing & Hearing Anew on Theater of a two-Headed Calf's Drum of the Waves of Horikawa

Hisama¹

2019

ASAP/Journal

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Colloquy: Sexual Violence in Opera: Scholarship, Pedagogy, and Production as Resistance

Cited by 5 publications

References 36 publications

Production as Criticism: Staging Wartime Rape in the Opera Canon

Production as Criticism: Staging Wartime Rape in the Opera Canon

Fifty Shades of Bluebeard? Dukas'sAriane et Barbe-Bleuein the Twenty-First Century

Seeing & Hearing Anew on Theater of a two-Headed Calf's Drum of the Waves of Horikawa

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