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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... representations of death may fit operatic ones as well , in fact , best of all : “ The immediacy of art , the poetry of literature , the action of film , and the lyricism of mu- sic can be united in theatre where there is the added and ...
... representations of death necessar- ily reveal much about the cultural values, beliefs, and customs of the societies that create and enjoy opera. Opera is an art form that has proved to be obsessed with death from its birth. Jacopo ...
... representations of death are cultural , not natural ; they are learned . In opera too , it was not al- ways socially or aesthetically acceptable to represent death on the stage . The seventeenth- and eighteenth - century operatic conven ...
... representations of death change over time. Of utmost importance, however, is the fact that the operas that do seriously deal with death as a theme are, curiously, not negative or pessimistic, despite their obsession with mortality. In ...
... representations of death on the operatic stage in the same way as their creators. Today we have a different “attitude” to death, to borrow Ariès's term. This difference likely explains why audiences today tend to normalize death and ...
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 |