The Synthesis of the Arts: From Ceremonial Ritual to “Total Work of Art”

Abstract

The nineteenth century notion of a Gesamtkunstwerk or "total work of art" referred to a performance spectacle that synthesized multiple forms of the arts into a unified work, often times taking place in a grand setting that befit the spectacle. Such a performance would be a quasi-religious ceremony occurring in a location akin to a temple. We argue here that, long before aesthetic theorists devised the notion of a total work of art, religious ceremonies themselves showed all of the key features of a Gesamtkunstwerk. In fact, we propose that ceremonial rituals are essentially assemblages of arts-related behaviors and objects, and that this observation provides the historical and cognitive underpinnings for what would later become the total work of art in aesthetic practice. An important implication of this argument is that religion and the arts co-evolved during the course of human history.

From Ritual to Entertainment: The Changing Role of Barongan Performance Arts

“…A ritual is also inseparable from a group of people who believe in it (Parker, 2010). Ritual ceremonies in native cultures throughout the world have manifested this practice from the beginning (Brown & Dissanayake, 2018); (Richman, 2018). Regarding tradition, ritual ceremonies have an essential role and everyday activities (Moore, 1996).…”

Toward a Unification of the Arts

“…According to these treatises, music and poetry are united by the vocal expression of emotion; painting and poetry are united by their ability to conjure up visual images; and painting and music are united by their use of colors (tone-colors in the case of music) and expressiveness. Regarding combinations of the arts, the notion of a Gesamtkunstwerk or “total work of art” was established by aesthetic philosophers and practitioners in the 19th century (Wagner, 1849/1993; Smith, 2007; Brown and Dissanayake, 2018). It represented a grand unification of the arts, encompassing theater, music, dance, and visual design, as applied to literary themes from mythology, folklore, history, and religion.…”

“…It represented a grand unification of the arts, encompassing theater, music, dance, and visual design, as applied to literary themes from mythology, folklore, history, and religion. Brown and Dissanayake (2018) proposed that, long before European aesthetic philosophers had devised the notion of a total work of art, religious ceremonies in indigenous cultures had for millennia been syntheses of the arts on a similar scale and of a similar scope to a Gesamtkunstwerk , arguing for the co-evolution of religion and the arts.…”

“…These are then classified with respect to their inclusion of four performance modalities: the speaking voice, the singing voice, instrumental music, and dance (and/or mime). Based on this figure, musical theater is the closest thing to being a “total work of art” in contemporary culture (Brown and Dissanayake, 2018). It is important to note that there are combinations that are based on more than two artforms.…”

“…Perhaps the most ancient application of the arts is its role in rituals as part of religious ceremonies (Durkheim, 1912/1995; Turner, 1969; Schechner, 1974, 1985; Tambiah, 1979; Dissanayake, 1988, 1992; Rappaport, 1999; Brown and Dissanayake, 2018). I argued above that ceremonial rituals were probably the first “total works of art.” Active engagement in a wide variety of artforms during religious rituals impacts non-arts behaviors related to all aspects of functioning of a social group.…”