Violetta's Dream - The Dead of Verdi
Виолетин сан - Вердијева смрт
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Metapodaci
Prikaz svih podataka o dokumentuApstrakt
Предмет овог рада јесте питање интерпретације Вердијеве опере Травијата у режији
Јурија Александрова, која је постављена на репертоар опере и театра Madlenianum у
Београду. Из перспективе интердисциплинарности, односно, познавањем и коришћењем
различитих теорија – институционална теорија, постструктуралистичка теорија, теорија
и пракса извођачких уметности – у раду се расправља о питању ауторства редитеља који
преузима улогу композитора дела, као и о институцији – театру, који омогућава арбитрарну
поставку музичко-сценског дела
In this paper interpretation is seen as creative, artistic act that allows the emergence of
musical-theatrical work seen as another option to perform its realization. My goal here is not
to show that some interpretation is good or bad (if it is even possible to evaluate objectively),
more the possibility of perceiving the modern approach or reading work from the perspective
of directors.
For this occasion I decided for Verdi’s opera La Traviata (Giuseppe Verdi, La Traviata), which
was performed at Belgrade’s private theater Madlenianum 2006, directed by Yuri Alexandrov
and musical interpretation conductor Stanko Jovanovic and soloist Olga Malevic Djordjevic,
Dejan Maksimovic and Miodrag Misa Jovanovic.
This interpretation rejects the comprehention according to the, so-called, intention of the
author, and that transition from the author to the reader Roland Barthes declared symbolically
as death of the author. Testimony about it, maybe the most extreme director’s solution, is... final
with „happy ending“. The director Alexandrov did not seek to provide the performance that will
be compatibile with Verdi’s intention, but creates work that follows his idea – through Violet’s
dream shows (criticize) the hypocrisy of the society – using partitura of the opera La Traviata.
Interpretation of director can be viewed as a production of possibilities for understanding,
because, although we know that Verdi made sketches for the performance of his work, we can
not say for sure that he had some pretensions to „supervise“ producing sense, so he left a wide
field for highlighting to the performer/director. In this way, the director has in fact become a
creator of meaning, not persistent seeker for meaning. The role of the director therefore changes
and he, as the creator, interpretater, reader, takes on the role of composer while setting the scene.
Ključne reči:
интерпретација / сан / смрт аутора / извођачке уметности / институција / interpretation / dream / author’s death / performing arts / institutionIzvor:
Umetnost i kultura danas: zbornik radova sa naučnog skupa, 2014, 129-137Izdavač:
- Niš : Univerzitet u Nišu, Fakultet umetnosti
Napomena:
- Drugi nacionalni naučni skup sa međunarodnim učešćem
URI
http://starisajt.artf.ni.ac.rs/wp-content/uploads/Zbornik-radova-BARTF-2014-elektronsko-izdanje.pdfhttps://dais.sanu.ac.rs/123456789/4749
Institucija/grupa
Музиколошки институт САНУ / Institute of Musicology SASATY - CONF AU - Спасић, Вања PY - 2014 UR - http://starisajt.artf.ni.ac.rs/wp-content/uploads/Zbornik-radova-BARTF-2014-elektronsko-izdanje.pdf UR - https://dais.sanu.ac.rs/123456789/4749 AB - Предмет овог рада јесте питање интерпретације Вердијеве опере Травијата у режији Јурија Александрова, која је постављена на репертоар опере и театра Madlenianum у Београду. Из перспективе интердисциплинарности, односно, познавањем и коришћењем различитих теорија – институционална теорија, постструктуралистичка теорија, теорија и пракса извођачких уметности – у раду се расправља о питању ауторства редитеља који преузима улогу композитора дела, као и о институцији – театру, који омогућава арбитрарну поставку музичко-сценског дела AB - In this paper interpretation is seen as creative, artistic act that allows the emergence of musical-theatrical work seen as another option to perform its realization. My goal here is not to show that some interpretation is good or bad (if it is even possible to evaluate objectively), more the possibility of perceiving the modern approach or reading work from the perspective of directors. For this occasion I decided for Verdi’s opera La Traviata (Giuseppe Verdi, La Traviata), which was performed at Belgrade’s private theater Madlenianum 2006, directed by Yuri Alexandrov and musical interpretation conductor Stanko Jovanovic and soloist Olga Malevic Djordjevic, Dejan Maksimovic and Miodrag Misa Jovanovic. This interpretation rejects the comprehention according to the, so-called, intention of the author, and that transition from the author to the reader Roland Barthes declared symbolically as death of the author. Testimony about it, maybe the most extreme director’s solution, is final with „happy ending“. The director Alexandrov did not seek to provide the performance that will be compatibile with Verdi’s intention, but creates work that follows his idea – through Violet’s dream shows (criticize) the hypocrisy of the society – using partitura of the opera La Traviata. Interpretation of director can be viewed as a production of possibilities for understanding, because, although we know that Verdi made sketches for the performance of his work, we can not say for sure that he had some pretensions to „supervise“ producing sense, so he left a wide field for highlighting to the performer/director. In this way, the director has in fact become a creator of meaning, not persistent seeker for meaning. The role of the director therefore changes and he, as the creator, interpretater, reader, takes on the role of composer while setting the scene. PB - Niš : Univerzitet u Nišu, Fakultet umetnosti C3 - Umetnost i kultura danas: zbornik radova sa naučnog skupa T1 - Violetta's Dream - The Dead of Verdi T1 - Виолетин сан - Вердијева смрт SP - 129 EP - 137 UR - https://hdl.handle.net/21.15107/rcub_dais_4749 ER -
@conference{ author = "Спасић, Вања", year = "2014", abstract = "Предмет овог рада јесте питање интерпретације Вердијеве опере Травијата у режији Јурија Александрова, која је постављена на репертоар опере и театра Madlenianum у Београду. Из перспективе интердисциплинарности, односно, познавањем и коришћењем различитих теорија – институционална теорија, постструктуралистичка теорија, теорија и пракса извођачких уметности – у раду се расправља о питању ауторства редитеља који преузима улогу композитора дела, као и о институцији – театру, који омогућава арбитрарну поставку музичко-сценског дела, In this paper interpretation is seen as creative, artistic act that allows the emergence of musical-theatrical work seen as another option to perform its realization. My goal here is not to show that some interpretation is good or bad (if it is even possible to evaluate objectively), more the possibility of perceiving the modern approach or reading work from the perspective of directors. For this occasion I decided for Verdi’s opera La Traviata (Giuseppe Verdi, La Traviata), which was performed at Belgrade’s private theater Madlenianum 2006, directed by Yuri Alexandrov and musical interpretation conductor Stanko Jovanovic and soloist Olga Malevic Djordjevic, Dejan Maksimovic and Miodrag Misa Jovanovic. This interpretation rejects the comprehention according to the, so-called, intention of the author, and that transition from the author to the reader Roland Barthes declared symbolically as death of the author. Testimony about it, maybe the most extreme director’s solution, is final with „happy ending“. The director Alexandrov did not seek to provide the performance that will be compatibile with Verdi’s intention, but creates work that follows his idea – through Violet’s dream shows (criticize) the hypocrisy of the society – using partitura of the opera La Traviata. Interpretation of director can be viewed as a production of possibilities for understanding, because, although we know that Verdi made sketches for the performance of his work, we can not say for sure that he had some pretensions to „supervise“ producing sense, so he left a wide field for highlighting to the performer/director. In this way, the director has in fact become a creator of meaning, not persistent seeker for meaning. The role of the director therefore changes and he, as the creator, interpretater, reader, takes on the role of composer while setting the scene.", publisher = "Niš : Univerzitet u Nišu, Fakultet umetnosti", journal = "Umetnost i kultura danas: zbornik radova sa naučnog skupa", title = "Violetta's Dream - The Dead of Verdi, Виолетин сан - Вердијева смрт", pages = "129-137", url = "https://hdl.handle.net/21.15107/rcub_dais_4749" }
Спасић, В.. (2014). Violetta's Dream - The Dead of Verdi. in Umetnost i kultura danas: zbornik radova sa naučnog skupa Niš : Univerzitet u Nišu, Fakultet umetnosti., 129-137. https://hdl.handle.net/21.15107/rcub_dais_4749
Спасић В. Violetta's Dream - The Dead of Verdi. in Umetnost i kultura danas: zbornik radova sa naučnog skupa. 2014;:129-137. https://hdl.handle.net/21.15107/rcub_dais_4749 .
Спасић, Вања, "Violetta's Dream - The Dead of Verdi" in Umetnost i kultura danas: zbornik radova sa naučnog skupa (2014):129-137, https://hdl.handle.net/21.15107/rcub_dais_4749 .