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.
|Numero di pagine||18|
|Rivista||CON A DE ANIMACIÓN|
|Volume||Con A de animación, Núm. 7 (2017), "La animación a escena"|
|Stato di pubblicazione||Published - 2017|