Transforming Shakespeare's tragedies into operas : mutations, Intertextuality and Performance
Identifieur interne : 000180 ( Hal/Corpus ); précédent : 000179; suivant : 000181Transforming Shakespeare's tragedies into operas : mutations, Intertextuality and Performance
Auteurs : David PouliquenSource :
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Abstract
Vocal rendition, the nexus of the complex articulation of text and music, gives the coordinates of operatic dramaturgy. It is, in fact, through singing that this hybrid conjunction between these two media appears as one and the same autonomous unitary action. Thus, opera transcends the hiatus of the juxtaposition of two protean contents, with limited synergies and numerous antagonisms, in a homogeneous semiotic content that can be appreciated in its representation. It effects the passage from a bipolarized matter to an immaterial conciliatory energy that is made to be performed. This transcendent combination makes the source work of art suffer, as a result of vocal technique, the musical language and the contingencies of the operatic performance, in the same way that the music submits to the requirements of tragedy. This research work aims at bringing up questions about the sense and the issues at stake in the operatic tragedy as well in the Shakespearean tragedy, about what stands out from the entirety of text altered by the musical requirements and the music given over to it. It also undertakes to shed light on certain functions of the language and the music forms which, even if they are not fixed or universal, become effective in the singular case of the works that are examined; and also on some latent data of Shakespeare’s tragedies which would open new floodgates to the outpouring of human passions. This poses the question of what the connection between the heterogeneous contents of the operatic tragedy, releases, modifies and stifles in the source drama.
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It is, in fact, through singing that this hybrid conjunction between these two media appears as one and the same autonomous unitary action. Thus, opera transcends the hiatus of the juxtaposition of two protean contents, with limited synergies and numerous antagonisms, in a homogeneous semiotic content that can be appreciated in its representation. It effects the passage from a bipolarized matter to an immaterial conciliatory energy that is made to be performed. This transcendent combination makes the source work of art suffer, as a result of vocal technique, the musical language and the contingencies of the operatic performance, in the same way that the music submits to the requirements of tragedy. This research work aims at bringing up questions about the sense and the issues at stake in the operatic tragedy as well in the Shakespearean tragedy, about what stands out from the entirety of text altered by the musical requirements and the music given over to it. It also undertakes to shed light on certain functions of the language and the music forms which, even if they are not fixed or universal, become effective in the singular case of the works that are examined; and also on some latent data of Shakespeare’s tragedies which would open new floodgates to the outpouring of human passions. This poses the question of what the connection between the heterogeneous contents of the operatic tragedy, releases, modifies and stifles in the source drama.</div></front></TEI><hal api="V3"><titleStmt><title xml:lang="en">Transforming Shakespeare's tragedies into operas : mutations, Intertextuality and Performance</title><title xml:lang="fr">De la tragédie parlée shakespearienne à la tragédie lyrique : mutations, intertextualité et interprétation</title><title xml:lang="it">Dal dramma shakespeariano alla tragedia in musica : mutazioni, intertestualità e interpretazione</title><author role="aut"><persName><forename type="first">David</forename><surname>Pouliquen</surname></persName><idno type="halauthorid">1346125</idno><affiliation ref="#struct-2261"></affiliation></author><editor role="depositor"><persName><forename>ABES</forename><surname>STAR</surname></persName><email type="md5">f5aa7f563b02bb6adbba7496989af39a</email><email type="domain">abes.fr</email></editor></titleStmt><editionStmt><edition n="v1" type="current"><date type="whenSubmitted">2016-06-03 14:23:08</date><date type="whenModified">2018-02-16 09:35:06</date><date type="whenReleased">2016-06-06 18:40:47</date><date type="whenProduced">2016-05-23</date><date type="whenEndEmbargoed">2016-06-03</date><ref type="file" target="https://tel.archives-ouvertes.fr/tel-01326318/document"><date notBefore="2016-06-03"></date></ref><ref type="file" subtype="author" n="1" target="https://tel.archives-ouvertes.fr/tel-01326318/file/2016thesePouliquenD.pdf"><date notBefore="2016-06-03"></date></ref><ref type="annex" subtype="other" n="0" target="https://tel.archives-ouvertes.fr/tel-01326318/file/2_Esultate_Francesco_Tamagno.flac"><date notBefore="2016-06-03"></date></ref><ref type="annex" subtype="other" n="0" target="https://tel.archives-ouvertes.fr/tel-01326318/file/3_Esultate_Lauritz_Melchior.flac"><date notBefore="2016-06-03"></date></ref><ref type="annex" subtype="other" n="0" target="https://tel.archives-ouvertes.fr/tel-01326318/file/4_Esultate_Franco_Corelli.flac"><date notBefore="2016-06-03"></date></ref><ref type="annex" subtype="other" n="0" target="https://tel.archives-ouvertes.fr/tel-01326318/file/1_Vittoria_Tosca_Acta_II_Franco_Corelli.flac"><date notBefore="2016-06-03"></date></ref></edition><respStmt><resp>contributor</resp><name key="131274"><persName><forename>ABES</forename><surname>STAR</surname></persName><email type="md5">f5aa7f563b02bb6adbba7496989af39a</email><email type="domain">abes.fr</email></name></respStmt></editionStmt><publicationStmt><distributor>CCSD</distributor><idno type="halId">tel-01326318</idno><idno type="halUri">https://tel.archives-ouvertes.fr/tel-01326318</idno><idno type="halBibtex">pouliquen:tel-01326318</idno><idno type="halRefHtml">Musique, musicologie et arts de la scène. Université Rennes 2, 2016. Français. 〈NNT : 2016REN20016〉</idno><idno type="halRef">Musique, musicologie et arts de la scène. Université Rennes 2, 2016. Français. 〈NNT : 2016REN20016〉</idno></publicationStmt><seriesStmt><idno type="stamp" n="STAR">STAR - Dépôt national des thèses électroniques</idno><idno type="stamp" n="AO-MUSICOLOGIE" p="SHS">AO-MUSICOLOGIE</idno><idno type="stamp" n="SHS">Sciences de l'Homme et de la Société</idno><idno type="stamp" n="APP">Arts : pratiques et poétiques</idno><idno type="stamp" n="UNIV-RENNES2">Université Rennes 2</idno><idno type="stamp" n="UR2-HB">Université Rennes 2 - Haute Bretagne</idno><idno type="stamp" n="UR2-HB-T">Thèses de l'Université Rennes 2 - Haute Bretagne</idno><idno type="stamp" n="TEST-UNIV-RENNES">TEST Université de Rennes</idno></seriesStmt><notesStmt></notesStmt><sourceDesc><biblStruct><analytic><title xml:lang="en">Transforming Shakespeare's tragedies into operas : mutations, Intertextuality and Performance</title><title xml:lang="fr">De la tragédie parlée shakespearienne à la tragédie lyrique : mutations, intertextualité et interprétation</title><title xml:lang="it">Dal dramma shakespeariano alla tragedia in musica : mutazioni, intertestualità e interpretazione</title><author role="aut"><persName><forename type="first">David</forename><surname>Pouliquen</surname></persName><idno type="halauthorid">1346125</idno><affiliation ref="#struct-2261"></affiliation></author></analytic><monogr><idno type="nnt">2016REN20016</idno><imprint><date type="dateDefended">2016-05-23</date></imprint><authority type="institution">Université Rennes 2</authority><authority type="school">École doctorale Arts, lettres, langues (Rennes)</authority><authority type="supervisor">Joseph Delaplace</authority><authority type="supervisor">Franco Nasi</authority><authority type="jury">Giordano Ferrari [Président]</authority><authority type="jury">Clair Rowden [Rapporteur]</authority><authority type="jury">Giovanna Bellati [Rapporteur]</authority></monogr></biblStruct></sourceDesc><profileDesc><langUsage><language ident="fr">French</language></langUsage><textClass><keywords scheme="author"><term xml:lang="en">Comparative dramaturgy</term><term xml:lang="en">Vocal technique</term><term xml:lang="fr">Technique vocale</term><term xml:lang="fr">Dramaturgie comparée</term><term xml:lang="fr">Richard Cowan</term></keywords><classCode scheme="halDomain" n="shs.musiq">Humanities and Social Sciences/Musicology and performing arts</classCode><classCode scheme="halTypology" n="THESE">Theses</classCode></textClass><abstract xml:lang="en">Vocal rendition, the nexus of the complex articulation of text and music, gives the coordinates of operatic dramaturgy. It is, in fact, through singing that this hybrid conjunction between these two media appears as one and the same autonomous unitary action. Thus, opera transcends the hiatus of the juxtaposition of two protean contents, with limited synergies and numerous antagonisms, in a homogeneous semiotic content that can be appreciated in its representation. It effects the passage from a bipolarized matter to an immaterial conciliatory energy that is made to be performed. This transcendent combination makes the source work of art suffer, as a result of vocal technique, the musical language and the contingencies of the operatic performance, in the same way that the music submits to the requirements of tragedy. This research work aims at bringing up questions about the sense and the issues at stake in the operatic tragedy as well in the Shakespearean tragedy, about what stands out from the entirety of text altered by the musical requirements and the music given over to it. It also undertakes to shed light on certain functions of the language and the music forms which, even if they are not fixed or universal, become effective in the singular case of the works that are examined; and also on some latent data of Shakespeare’s tragedies which would open new floodgates to the outpouring of human passions. This poses the question of what the connection between the heterogeneous contents of the operatic tragedy, releases, modifies and stifles in the source drama.</abstract><abstract xml:lang="fr">L'interprétation vocale, parce qu'elle est le point nodal de l'articulation complexe entre le texte et la musique, fournit les coordonnées de la dramaturgie opératique. C'est en effet par le chant que la rencontre hybride entre ces deux médias se coule en une seule et même action, autonome et indécomposable. L'opéra transcende ainsi le hiatus de la juxtaposition de deux contenus protéiformes, aux synergies limitées et aux nombreux antagonismes, en un contenu sémiotique homogène, que l'on goûte par le truchement de la représentation. Il s'agit véritablement du passage d'une matière bipolarisée à une énergie dont l'immatérialité réconciliatrice s'inscrit dans l'espace de la scène. Cette union transcendante fait "souffrir" l'oeuvre source, par l'impact de la technique vocale, du langage musical et des contingences liées à la scène lyrique, de la même manière que la musique se plie, dans une certaine mesure, aux impératifs de la tragédie. Cette recherche vise à soulever des interrogations sur le sens et les enjeux de la tragédie lyrique et de la tragédie shakespearienne, sur ce que fait émerger l'agglomérat du texte, transformé par les exigences musicales, et de la musique, dédiées à ce texte. Elle entreprend aussi d'éclairer certaines fonctions du langage et des formes musicales qui, même si elles ne sont pas fixes et universelles, deviennent opérantes dans le cas singulier des oeuvres traitées, ainsi que certaines données latentes des tragédies de Shakespeare qui ouvriraient de nouveaux canaux à l'effusion des passions humaines. Cela pose la question de ce que la relation des contenus hétéroclites de la tragédie lyrique libère, modifie et étouffe dans le drame source.</abstract><abstract xml:lang="it">L'interpretazione vocale, il nodo della complessa articolazione tra testo e musica, dà le coordinate della drammaturgia operistica. È, infatti, attraverso il canto che la confluenza ibrida tra questi due mezzi di comunicazione si fonde in una stessa azione, autonoma e unitaria. L'opera trascende così lo iato della giustapposizione di due contenuti proteiformi, con limitate sinergie e antagonismi numerosi, per arrivare a un contenuto semiotico omogeneo, che gustiamo tramite la rappresentazione teatrale. Si effettua veramente il passaggio da una materia bipolarizzata ad un'energia la cui immaterialità riconciliante si inserisce nello spazio scenico. Questa combinazione trascendente fa « soffrire » le fonti, a causa dell’impatto della tecnica vocale, del linguaggio musicale e delle contingenze afferenti alla lirica, nello stesso modo in cui la musica si piega, entro certi limiti, ai dettami della tragedia. Questa ricerca mira a porre delle domande sul significato e sulle sfide della tragedia lirica e della tragedia di Shakespeare, su ciò che fa emergere l’agglomerato del testo, trasformato dalle esigenze musicali, e della musica consacrata a questo testo. Si impegna inoltre a illuminare alcune funzioni del linguaggio e delle forme musicali che, anche se non sono fisse e universali, diventano operative nel caso singolare delle opere esaminate, così come certi dati latenti delle tragedie di Shakespeare, che aprirebbero nuovi canali all’effusione delle passioni umane. Questo solleva la questione di ciò che il collegamento dei contenuti eterogenei della tragedia lirica libera, modifica e soffoca nel dramma originale.</abstract></profileDesc></hal></record>Pour manipuler ce document sous Unix (Dilib)
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