Nuevas formas de llevar una ópera al teatro. Un caso de estudio. La flauta mágica de la compañía 1927 y de Kosky: animación 2d, nuevas tecnologías digitales y estilo vintage

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Abstract

Opera, a genre often linked to the past, is proving to be more alive than ever. Thanks to the contribution of directors and investigators coming from the ranks of theatre, opera became the excellence in the field of contemporary experimentation especially in relation to the use of new technologies. A real paradox. An example is the staging of Mozart’s The Magic Flute by Komische Oper Berlin, conceived and directed by the British company 1927 and the Australian director Barrie Kosky in 2012. It is an atypical and unusual staging of The Magic Flute that uses video projection mapping technologies but at the same time also 2D animation techniques, hand drawings, with the goal of merging aesthetics of the past, in particular those of the silent film and the animation of the origins, with our contemporary age. The purpose of this paper is to analyze this staging linking it to the general problems of staging of repertory operas nowadays.
Lingua originaleSpanish
pagine (da-a)108-125
Numero di pagine18
RivistaCON A DE ANIMACIÓN
VolumeCon A de animación, Núm. 7 (2017), "La animación a escena"
Stato di pubblicazionePublished - 2017

Cita questo

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title = "Nuevas formas de llevar una {\'o}pera al teatro. Un caso de estudio. La flauta m{\'a}gica de la compa{\~n}{\'i}a 1927 y de Kosky: animaci{\'o}n 2d, nuevas tecnolog{\'i}as digitales y estilo vintage",
abstract = "Opera, a genre often linked to the past, is proving to be more alive than ever. Thanks to the contribution of directors and investigators coming from the ranks of theatre, opera became the excellence in the field of contemporary experimentation especially in relation to the use of new technologies. A real paradox. An example is the staging of Mozart’s The Magic Flute by Komische Oper Berlin, conceived and directed by the British company 1927 and the Australian director Barrie Kosky in 2012. It is an atypical and unusual staging of The Magic Flute that uses video projection mapping technologies but at the same time also 2D animation techniques, hand drawings, with the goal of merging aesthetics of the past, in particular those of the silent film and the animation of the origins, with our contemporary age. The purpose of this paper is to analyze this staging linking it to the general problems of staging of repertory operas nowadays.",
author = "Vincenzo Sansone",
year = "2017",
language = "Spanish",
volume = "Con A de animaci{\'o}n, N{\'u}m. 7 (2017), {"}La animaci{\'o}n a escena{"}",
pages = "108--125",
journal = "CON A DE ANIMACI{\'O}N",
issn = "2173-6049",

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T1 - Nuevas formas de llevar una ópera al teatro. Un caso de estudio. La flauta mágica de la compañía 1927 y de Kosky: animación 2d, nuevas tecnologías digitales y estilo vintage

AU - Sansone, Vincenzo

PY - 2017

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N2 - Opera, a genre often linked to the past, is proving to be more alive than ever. Thanks to the contribution of directors and investigators coming from the ranks of theatre, opera became the excellence in the field of contemporary experimentation especially in relation to the use of new technologies. A real paradox. An example is the staging of Mozart’s The Magic Flute by Komische Oper Berlin, conceived and directed by the British company 1927 and the Australian director Barrie Kosky in 2012. It is an atypical and unusual staging of The Magic Flute that uses video projection mapping technologies but at the same time also 2D animation techniques, hand drawings, with the goal of merging aesthetics of the past, in particular those of the silent film and the animation of the origins, with our contemporary age. The purpose of this paper is to analyze this staging linking it to the general problems of staging of repertory operas nowadays.

AB - Opera, a genre often linked to the past, is proving to be more alive than ever. Thanks to the contribution of directors and investigators coming from the ranks of theatre, opera became the excellence in the field of contemporary experimentation especially in relation to the use of new technologies. A real paradox. An example is the staging of Mozart’s The Magic Flute by Komische Oper Berlin, conceived and directed by the British company 1927 and the Australian director Barrie Kosky in 2012. It is an atypical and unusual staging of The Magic Flute that uses video projection mapping technologies but at the same time also 2D animation techniques, hand drawings, with the goal of merging aesthetics of the past, in particular those of the silent film and the animation of the origins, with our contemporary age. The purpose of this paper is to analyze this staging linking it to the general problems of staging of repertory operas nowadays.

UR - http://hdl.handle.net/10447/233195

UR - http://polipapers.upv.es/index.php/CAA/article/view/7301

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SP - 108

EP - 125

JO - CON A DE ANIMACIÓN

JF - CON A DE ANIMACIÓN

SN - 2173-6049

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