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OverviewFull Product DetailsAuthor: Megan Steigerwald IllePublisher: The University of Michigan Press Imprint: The University of Michigan Press ISBN: 9780472056644ISBN 10: 0472056646 Pages: 296 Publication Date: 30 April 2024 Audience: Professional and scholarly , Professional & Vocational Format: Paperback Publisher's Status: Active Availability: In Print This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us. Table of ContentsAcknowledgments Introduction Introduction From Recession to Pandemic: Operatic Contexts Yuval Sharon and The Industry Methods: Precarity, Perspectives, and Critique Plan of Book Chapter 1: Opera as Mobile Music: Invisible Cities Introduction Experiencing Mediated Performance: Logistics Interpretive Ambiguity, Audience Agency Performance History and Digital Adaptation Writing for Headphones: Making Sound Design Visible New Rules of Spectatorship: Listening to Invisible Cities Audile Techniques and Consumerism Wagner’s Invisible Theater, Brecht’s headphones? Convention or Experimentation? Conclusions: Contradictory Spectatorships and the Operatic Genre Chapter 2: Operatic Economics: Liveness and Labor in Hopscotch Introduction Operatic Tradition on Wheels: The Production Fractured Logistics Hybrid Spectatorships The Labor of the Live Mediated Entertainment and Operatic Distance Look at Me! Isolation in Digital Performance Curation and Commodification Mediating Intimacy and Isolation Performers, Participants, and Power Participating in Precarity Commodities and Conclusions Chapter 3: Experiments with Institutionality: Galileo, War of the Worlds, and ATLAS Introduction Precarities and Production: Galileo and War of the Worlds Traditional Structures and Closed Systems Closed Institutional Precedents and Contemporary Manifestations New Approaches to Political Economy: Open Models of Production Open Institutional Lineages: Economic and Experimental Tensions War of the Institutional Frameworks? Coda: ATLAS Chapter 4: “What you remember doesn’t matter”: Toward an Anti-Colonial Opera Introduction Colonizer Opera New Models of Collaboration Experimenting with Form: From Workshop to Film Representing Individuals, Rejecting Tokenism, Re-envisioning Opera Moving Beyond Colonial Collaboration: Rehearsals Moving Beyond Colonial Collaboration: Performer Composition “If you’re going to change opera, you have to change it”: Lingering Colonial Hierarchies Conclusion: Colonial Hauntings, Anti-Colonial Ambiguities Epilogue Introduction Closing the Curtain on Sweet Land: March-November 2020 The Future of Opera for Everyone and The Industry’s Artistic Director Collective Everyone’s OperaReviews“Opera for Everyone is a substantive, enlightening, and important work of scholarship that lays the groundwork for further research in the lively field of opera studies. In her examination of The Industry, Steigerwald Ille draws on a multiplicity of voices—a strategy that complements the multivalent complexity of opera—and her sincere, thoughtful engagement with the ethics of contemporary opera production offers an excellent model for the study of performing arts in the twenty-first century.” —Ryan Ebright, Bowling Green State University “Compared to how abundantly pieces of contemporary musical theatre and opera are present on all kinds of scenes, the literature about this field is still meager. Opera For Everyone is extremely welcome as it illuminates the world and poetics of contemporary opera and it turns this interest into a dynamic book.” —Jelena Novak, CESEM (Center for Study of the Sociology and Aesthetics of Music), FCSH, Universidade NOVA de Lisboa “Opera for Everyone is a substantive, enlightening, and important work of scholarship that lays the groundwork for further research in the lively field of opera studies. In her examination of The Industry, Steigerwald Ille draws on a multiplicity of voices—a strategy that complements the multivalent complexity of opera—and her sincere, thoughtful engagement with the ethics of contemporary opera production offers an excellent model for the study of performing arts in the twenty-first century.” —Ryan Ebright, Bowling Green State University “Compared to how abundantly pieces of contemporary musical theatre and opera are present on all kinds of scenes, the literature about this field is still meager. Opera For Everyone is extremely welcome as it illuminates the world and poetics of contemporary opera and it turns this interest into a dynamic book.” —Jelena Novak, CESEM (Center for Study of the Sociology and Aesthetics of Music), FCSH, Universidade NOVA de Lisboa Author InformationMegan Steigerwald Ille is Assistant Professor of Musicology at the College-Conservatory of Music at the University of Cincinnati. Tab Content 6Author Website:Countries AvailableAll regions |