Opera: The Art of DyingOur modern narratives of science and technology can only go so far in teaching us about the death that we must all finally face. Can an act of the imagination, in the form of opera, take us the rest of the way? Might opera, an art form steeped in death, teach us how to die, as this provocative work suggests? In "Opera: The Art of Dying" a physician and a literary theorist bring together scientific and humanistic perspectives on the lessons on living and dying that this extravagant and seemingly artificial art imparts. Contrasting the experience of mortality in opera to that in tragedy, the Hutcheons find a more apt analogy in the medieval custom of "contemplatio mortis"--a dramatized exercise in imagining one's own death that prepared one for the inevitable end and helped one enjoy the life that remained. From the perspective of a contemporary audience, they explore concepts of mortality embodied in both the common and the more obscure operatic repertoire: the terror of death (in Poulenc's "Dialogues of the Carmelites"); the longing for death (in Wagner's "Tristan and Isolde"); preparation for the good death (in Wagner's "Ring of the Nibelung"); and suicide (in Puccini's "Madama Butterfly"). In works by Janacek, Ullmann, Berg, and Britten, among others, the Hutcheons examine how death is made to feel logical and even right morally, psychologically, and artistically--how, in the art of opera, we rehearse death in order to give life meaning. |
From inside the book
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... called the “art of dying.”1 We have two aims: to examine Western concepts of mor- tality, as manifested historically in opera, and to speculate on how modern audiences respond to witnessing these concepts on stage. Opera: The Art of ...
... surprisingly, a collection of concepts and theo- ries has grown up in recent years to form something actually called “death studies.” Academically, this field has been strikingly sepa- rated Music and “Murky Death” 5.
... called “narrative knowledge.”13 This involves an under- standing, often unspoken, but widely shared among individuals within a culture, about the stories or the explanations that we use to make sense of our world. Narrative knowledge is ...
... called an excess of ef- fect : the combination of the dramatic , the narrative , the thematic , along with the verbal , the visual , the auditory . Kent Neely's de- scription of the impact of theatrical representations of death may fit ...
... called the “ horizon of expectations ” of readers as potential audience members.23 This will be most evident in chapters like the second one , where we explore the importance of German Romanticism in general and of Wagner in particular ...
Contents
1 | |
15 | |
Richard Wagners Tristan and Isolde | 45 |
Living while Dying in Wagners Der Ring des Nibelungen | 73 |
4 Orphic Rituals of Bereavement | 96 |
Staging Suicide | 123 |
6 The Undead | 146 |
Be Acquainted with Death Betimes | 184 |
Notes | 189 |
Acknowledgments | 233 |
Index | 235 |