The Mise-en-scene of Mediation: Wagner's Gotterdammerung (Stuttgart Opera, Peter Konwitschny, 2000-2005)

Levin, David J.

doi:10.1093/oq/kbr029

Cited by 3 publications

(1 citation statement)

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“…These productions have sought to respect stylistic conventions and remain loyal to the original performance over acquiring audiovisual diegetic autonomy (Senici, 2010). As we have pointed out, in most 21 st -century films made for cinema, television or video, there has also been a tendency to associate loyalty to the original work with a type of audiovisual discourse that is not immersive but, rather, transparent and limited in audiovisual terms (Anderson, 2011;Cenciarelli, 2013;Levin, 2011;Senici, 2010).…”

Section: Introductionmentioning

confidence: 99%

The audiovisual recreation of operas filmed in theaters: An analysis of Don Giovanni by W. A. Mozart

Villanueva

Lacasa-Mas

2021

Communication & Society

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This article analyzes select opera films produced during the 20th and 21st centuries by international opera houses in order to determine whether, when the diegesis of these films is recreated, there is also an attempt made for the films to reflect the conventions of operatic performance. We performed content analysis of the end of the first act in 29 filmed versions of the opera Don Giovanni by W.A. Mozart by evaluating 44 variables related to three categories that are central to translating the original story to the new audiovisual discourse: recreation of time and space and use of scenery. The main results reveal that in translating Don Giovanni to audiovisual media, the films continue to be influenced by the institutional conventions of operatic theater. In relying on the original performance, these films, even in the 21st century, do not exhibit full narrative autonomy. Our article proposes several ways to better adapt—from a cinematographic perspective—these scenic representations based on elements such as depth of field or scenery, without the need for greater resources than those already available to opera houses.

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Section: Introductionmentioning

confidence: 99%

The audiovisual recreation of operas filmed in theaters: An analysis of Don Giovanni by W. A. Mozart

Villanueva

Lacasa-Mas

2021

Communication & Society

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Wagner, Artaud, Brecht : l’idéal post-humaniste d’un théâtre médiateur

Moukarzel¹

2015

litteratures

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El uso del lenguaje audiovisual en la expansión de las artes escénicas fuera del teatro: el caso de Don Giovanni, de Mozart

Villanueva-Benito

Lacasa-Mas

2017

RLCS

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El uso del lenguaje audiovisual en la expansión de las artes escénicas fuera del teatro: el caso de Don Giovanni, de Mozart El uso del lenguaje audiovisual en la expansión de las artes escénicas fuera de los teatros: el caso de Don Giovanni, Abstracts[ES] Introducción: Este artículo estudia filmaciones de ópera de los siglos XX y XXI, con el fin de identificar si el lenguaje que utilizan se acerca más a las convenciones teatrales de las artes escénicas propias del vivo o a las de los medios audiovisuales. Metodología: Hemos realizado un exhaustivo análisis de contenido del final del primer acto de 29 versiones filmadas del Don Giovanni de Mozart, de acuerdo a tres categorías: tipo de grabación, tipo de planos empleados y tipo de montaje. Partiendo de ellas, hemos evaluado 41 variables. Resultados: Concluimos que, en el intento de expandir un espectáculo como el operístico fuera de los teatros, incluso en el siglo XXI el vivo sigue limitando la forma de las filmaciones. Nuestro artículo subraya que no basta con trasladar los contenidos operísticos a los soportes mediáticos, sino que hace falta también aprovechar el lenguaje audiovisual para generar sentido narrativo. Proponemos varias maneras de hacerlo.[EN] Introduction: This paper studies opera films of centuries XX and XXI, in order to identify whether the language used is closer to the theater standards of the performing arts typical of live or those of audiovisual media. Methodology: We have performed an exhaustive contents analysis of the end of the first act from 29 filmed versions of Mozart's Don Giovanni, according to three categories: type of film, type of camera shots used and type of editing. From these, we evaluated 41 variables. Results: We conclude that, with the purpose to expand a performance such as the operatic outside RLCS, Revista Latina de Comunicación Social, 72 -Páginas 1.238 a 1.260 [Investigación] theaters, even in the XXI century, live still limits the form of films. Our paper highlights that it is not enough to transfer operatic contents to mediatic platforms, but making the most of the audiovisual language to generate narrative sense is also needed. We suggest several ways to do so.

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The Mise-en-scene of Mediation: Wagner's Gotterdammerung (Stuttgart Opera, Peter Konwitschny, 2000-2005)

Cited by 3 publications

References 3 publications

The audiovisual recreation of operas filmed in theaters: An analysis of Don Giovanni by W. A. Mozart

The audiovisual recreation of operas filmed in theaters: An analysis of Don Giovanni by W. A. Mozart

Wagner, Artaud, Brecht : l’idéal post-humaniste d’un théâtre médiateur

El uso del lenguaje audiovisual en la expansión de las artes escénicas fuera del teatro: el caso de Don Giovanni, de Mozart

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