Violetta's Dream - The Dead of Verdi

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.