The Birth of Opera and the New Science

Tanay, Dorit

doi:10.1080/10848770601023099

Cited by 2 publications

(2 citation statements)

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“…Also, there is very little documentation that exists to guide anyone attempting to develop an opera or write a libretto. The only scholarly text we could find was a small memoire written in 1914 [18] that drew on analysis of existing, mostly nineteenth century operas to make a few suggestions, although there is also information to be gleaned from discussions concerning whether the text or the music should have primacy [20] as well as the process of bringing meraviglia into opera [15].…”

Section: The Librettomentioning

confidence: 99%

“…Participatory design in a broader sense has been, of course, an established practice now in research circles for several decades, addressing problem-solving in relation to a wide variety of application domains [11,12]. Furthermore, participatory design is increasingly being used within art production practices [13][14][15], including the design of television episodes. Opera, however, imposes its own constraints and challenges.…”

Section: Introductionmentioning

confidence: 99%

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Designing a Participatory and Interactive Opera

Edwards¹,

Kiss²,

Morales³

et al. 2019

Interactive Multimedia - Multimedia Production and Digital Storytelling

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Opera as an art form should lend itself to participatory design, given its wide variety of theatrical and musical components. Opera, however, imposes its own constraints and challenges. The problem as laid out in the early stages of the project was to design a short one-act interactive opera that could be managed within a modest budget. The source material was a science fiction manuscript currently undergoing publication by a small independent publishing house. Our research and production team included a composer, several singers/musicians, an engineer, a designer, and a choreographer/dancer as well as the writer. Furthermore, several of these had done extensive work with interactive and immersive environments. In addition to the opera itself, which incorporated both live and virtual elements, we recycled the 3d virtual designs as the substratum for an online co-creation environment that could be used to elicit public participation in the future development of our operas. We discuss both the diverse challenges involved in creating the opera and the co-creation environment, and highlight projected future work.

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Section: The Librettomentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%