Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music

This essay analyses and interprets the scores, recordings, and media used in Knittel and King's The Heart Piece - Double Opera (1999) and Stulgińska's Three Women for three women and ten instruments (2017), two semi-improvised Polish operas using performance art and interaction between sou...

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Autor principal:	Karwaszewska Monika
Formato:	article
Lenguaje:	EN SR
Publicado:	Akademija umetnosti Univerziteta u Novom Sadu 2021
Materias:	intermediality intertextuality live performance contemporary polish music modern musical theatre and opera Arts in general NX1-820
Acceso en línea:	https://doaj.org/article/632574e66579416388ff0b5761bfbf6e
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spelling	oai:doaj.org-article:632574e66579416388ff0b5761bfbf6e2021-12-05T21:40:03ZKrzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music2334-86662560-310810.5937/ZbAkU2109136Khttps://doaj.org/article/632574e66579416388ff0b5761bfbf6e2021-01-01T00:00:00Zhttps://scindeks-clanci.ceon.rs/data/pdf/2334-8666/2021/2334-86662109136K.pdfhttps://doaj.org/toc/2334-8666https://doaj.org/toc/2560-3108This essay analyses and interprets the scores, recordings, and media used in Knittel and King's The Heart Piece - Double Opera (1999) and Stulgińska's Three Women for three women and ten instruments (2017), two semi-improvised Polish operas using performance art and interaction between sound, text, choreography, lighting, theatrical form and electronic medium. In Stuglińska's modern music theatre, the listener follows different sound sources and the setting: choreography, performers' and speakers' arrangement on stage, props and lighting, whose intensity dictates the form. The Heart Piece chamber opera is a two - Polish and American - composers' take on Müller's play Herzstück, with separate movements in their native languages. Music and text create an interactive setting, and their notation and semantics make music both seen and heard. These works use the concept of hybridization and, in Wolf's terminology, intracompositional intermediality, where different means of expression create an intermedial discourse, a complementary whole and a new syncretistic medium.Karwaszewska MonikaAkademija umetnosti Univerziteta u Novom Saduarticleintermedialityintertextualitylive performancecontemporary polish musicmodern musical theatre and operaArts in generalNX1-820ENSRZbornik Radova Akademije Umetnosti, Vol 2021, Iss 9, Pp 136-154 (2021)
institution	DOAJ
collection	DOAJ
language	EN SR
topic	intermediality intertextuality live performance contemporary polish music modern musical theatre and opera Arts in general NX1-820
spellingShingle	intermediality intertextuality live performance contemporary polish music modern musical theatre and opera Arts in general NX1-820 Karwaszewska Monika Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music
description	This essay analyses and interprets the scores, recordings, and media used in Knittel and King's The Heart Piece - Double Opera (1999) and Stulgińska's Three Women for three women and ten instruments (2017), two semi-improvised Polish operas using performance art and interaction between sound, text, choreography, lighting, theatrical form and electronic medium. In Stuglińska's modern music theatre, the listener follows different sound sources and the setting: choreography, performers' and speakers' arrangement on stage, props and lighting, whose intensity dictates the form. The Heart Piece chamber opera is a two - Polish and American - composers' take on Müller's play Herzstück, with separate movements in their native languages. Music and text create an interactive setting, and their notation and semantics make music both seen and heard. These works use the concept of hybridization and, in Wolf's terminology, intracompositional intermediality, where different means of expression create an intermedial discourse, a complementary whole and a new syncretistic medium.
format	article
author	Karwaszewska Monika
author_facet	Karwaszewska Monika
author_sort	Karwaszewska Monika
title	Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music
title_short	Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music
title_full	Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music
title_fullStr	Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music
title_full_unstemmed	Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music
title_sort	krzysztof knittel's chamber opera and agnieszka stulgińska's music theatre: examples of a new syncretistic medium in contemporary polish music
publisher	Akademija umetnosti Univerziteta u Novom Sadu
publishDate	2021
url	https://doaj.org/article/632574e66579416388ff0b5761bfbf6e
work_keys_str_mv	AT karwaszewskamonika krzysztofknittelschamberoperaandagnieszkastulginskasmusictheatreexamplesofanewsyncretisticmediumincontemporarypolishmusic
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Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music

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