FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2775396087> ?p ?o ?g. }

• W2775396087 abstract "This practice-led project examines opera in light of the current critical attention to animals, both real and metaphorical, and their often hidden or overlooked presences in human culture. Despite their near ubiquity in our lives, animals have only recently become the subjects of serious intellectual inquiry, and the field of animal studies is a rapidly-evolving discipline, with scholars like Keith Thomas and Harriet Ritvo considering animals as active participants in human lives and histories. Opera as a form has always concerned itself with meetings between the human and the not-human; Orpheus, the semi-divine hero of the earliest operas, subdues both gods and wild beasts through his music. It is therefore curious that no serious study of opera in relation to animals and animality has yet been undertaken. For the first part of this project I have been examining the extensive representation of animals in opera over the 400 years of its existence to understand the changing forms and meanings of animals in opera. The voice is central to opera, and a closer consideration of the voice as the locus of human and non-human difference reinvigorates the debate about operatic representation, reinforcing opera's status as the ultimate humanist art form while exposing the vulnerability of this position in an era when humanism itself is increasingly called into question. A synthetic opera-animal approach casts important light on some concerns which are central to both fields: the porous, shifting boundary between human and non-human animals (and the way in which mimesis and performance further reinforce or erode those boundaries, building on work by Ritvo and Erica Fudge, Deleuze and Agamben); questions of anthropomorphism and authenticity as addressed by Steve Baker; notions of wonder, the metaphysical, and the uncanny as explored by Abbate and Tomlinson; even the politics and ethics of performance-as-animal. Practical research is also central to this project, which explores, through a portfolio of documented workshops and performances, the opportunities and necessities occasioned by the creation of a new post-human music theatre that articulates and confronts head-on our own animality, moving beyond a modernism which defines itself in opposition to the animal. In fact, as public discourse turns more and more to the sciences rather than to the arts for answers to the fundamental questions of human and animal nature, animal-opera is an obvious territory on which these two epistemological frameworks, scientific and artistic, can coexist - or collide - revealing how animals might be regarded not simply as passive carriers of imposed human meaning, but generators of meaning in their own right. The main project realised through this process of experimentation is Arthropoda, a collection of works based on the life stories of arthropods. The choice of animal is not arbitrary - their phylogenetic distance, their problematic bodies, their simultaneous familiarity and utter alienness supply particular representational challenges beyond those of more easily anthropomorphised creatures. The first work from this series, Phthirus, a cantata for human singers as human parasites, has underlined some of the limitations of traditional anthropomorphic representations, while new developments in the field of insect communication have suggested radical new directions that push the boundaries of opera as a form. A reconfigured examination of animal lives and bodies offers new source material, such as the bizarre lifestyle of the parasitic barnacle Sacculina; new musical dramaturgies, in the repurposing of entomological classics as performance texts; even new ways of producing and perceiving musical sound, such as the tymbalum, a biomimetic musical instrument based on cicada physiology. Each of these approaches seeks to bridge the perceptual divide between human and arthropod." @default.
• W2775396087 created "2017-12-22" @default.
• W2775396087 creator A5018609561 @default.
• W2775396087 date "2017-10-03" @default.
• W2775396087 modified "2023-09-24" @default.
• W2775396087 title "Singing beasts: opera and the animal" @default.
• W2775396087 hasPublicationYear "2017" @default.
• W2775396087 type Work @default.
• W2775396087 sameAs 2775396087 @default.
• W2775396087 citedByCount "0" @default.
• W2775396087 crossrefType "dissertation" @default.
• W2775396087 hasAuthorship W2775396087A5018609561 @default.
• W2775396087 hasConcept C107038049 @default.
• W2775396087 hasConcept C121332964 @default.
• W2775396087 hasConcept C124952713 @default.
• W2775396087 hasConcept C138885662 @default.
• W2775396087 hasConcept C142362112 @default.
• W2775396087 hasConcept C153606108 @default.
• W2775396087 hasConcept C17744445 @default.
• W2775396087 hasConcept C199539241 @default.
• W2775396087 hasConcept C24890656 @default.
• W2775396087 hasConcept C27206212 @default.
• W2775396087 hasConcept C2776359362 @default.
• W2775396087 hasConcept C44819458 @default.
• W2775396087 hasConcept C530479602 @default.
• W2775396087 hasConcept C94625758 @default.
• W2775396087 hasConceptScore W2775396087C107038049 @default.
• W2775396087 hasConceptScore W2775396087C121332964 @default.
• W2775396087 hasConceptScore W2775396087C124952713 @default.
• W2775396087 hasConceptScore W2775396087C138885662 @default.
• W2775396087 hasConceptScore W2775396087C142362112 @default.
• W2775396087 hasConceptScore W2775396087C153606108 @default.
• W2775396087 hasConceptScore W2775396087C17744445 @default.
• W2775396087 hasConceptScore W2775396087C199539241 @default.
• W2775396087 hasConceptScore W2775396087C24890656 @default.
• W2775396087 hasConceptScore W2775396087C27206212 @default.
• W2775396087 hasConceptScore W2775396087C2776359362 @default.
• W2775396087 hasConceptScore W2775396087C44819458 @default.
• W2775396087 hasConceptScore W2775396087C530479602 @default.
• W2775396087 hasConceptScore W2775396087C94625758 @default.
• W2775396087 hasLocation W27753960871 @default.
• W2775396087 hasOpenAccess W2775396087 @default.
• W2775396087 hasPrimaryLocation W27753960871 @default.
• W2775396087 hasRelatedWork W1139196488 @default.
• W2775396087 hasRelatedWork W1978856177 @default.
• W2775396087 hasRelatedWork W2022275792 @default.
• W2775396087 hasRelatedWork W2189500396 @default.
• W2775396087 hasRelatedWork W2263434949 @default.
• W2775396087 hasRelatedWork W2320467104 @default.
• W2775396087 hasRelatedWork W2321804441 @default.
• W2775396087 hasRelatedWork W2520841889 @default.
• W2775396087 hasRelatedWork W2765243107 @default.
• W2775396087 hasRelatedWork W2769775687 @default.
• W2775396087 hasRelatedWork W3026845417 @default.
• W2775396087 hasRelatedWork W3037915521 @default.
• W2775396087 hasRelatedWork W307862694 @default.
• W2775396087 hasRelatedWork W3109180653 @default.
• W2775396087 hasRelatedWork W31335161 @default.
• W2775396087 hasRelatedWork W3185169833 @default.
• W2775396087 hasRelatedWork W650525624 @default.
• W2775396087 hasRelatedWork W833821318 @default.
• W2775396087 hasRelatedWork W979908187 @default.
• W2775396087 hasRelatedWork W261201358 @default.
• W2775396087 isParatext "false" @default.
• W2775396087 isRetracted "false" @default.
• W2775396087 magId "2775396087" @default.
• W2775396087 workType "dissertation" @default.