All the Verdis of Venice - Softcover
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"Invites its audience to think about the nature of self and its socio-cultural construction, as well as the nature of fame, the role of cultural iconography, but doesn't presuppose answers. The play is never didactic, and more enjoyable for it."
Reseña del editor:
All great art has the ability to move people collectively, to create within it some essential, participatory expression of their humanity, their culture, their heritage. But who creates this art?
What is it that gives some individuals the power or the gift to create such works? Who are these works written for? Does the composer have a particular muse, or are they inspired by an abstraction, a composite muse? Who owns this great art? Is it illegitimate for either the author, the muse, or the people to claim it as their own? Do they all have a moral right to its power, its imagination, its authenticity?
Can great artists be forced to create utilitarian works specifically designed for some great or even banal purpose, to forge a nation or to pay one’s creditors, or does such an exercise always and necessarily create an empty shell?
Can a lover of Verdi ever, in any sense, become Verdi? If so, what happens to the person they left behind, no matter how briefly? Who is the "real" Verdi? Can he ever be found, and loved, by anyone?
Normand Chaurette addresses all of these questions in his farce on the most ritualized, contrived and yet the most powerful of all art forms: the opera. But his answers remain as ineffable as the questions that seek them. In the end, who we arecomposer, performer, or audienceis a collaboration of our illusions on a stage from which we remain forever absent.
Cast of 1 woman and 4 men.
What is it that gives some individuals the power or the gift to create such works? Who are these works written for? Does the composer have a particular muse, or are they inspired by an abstraction, a composite muse? Who owns this great art? Is it illegitimate for either the author, the muse, or the people to claim it as their own? Do they all have a moral right to its power, its imagination, its authenticity?
Can great artists be forced to create utilitarian works specifically designed for some great or even banal purpose, to forge a nation or to pay one’s creditors, or does such an exercise always and necessarily create an empty shell?
Can a lover of Verdi ever, in any sense, become Verdi? If so, what happens to the person they left behind, no matter how briefly? Who is the "real" Verdi? Can he ever be found, and loved, by anyone?
Normand Chaurette addresses all of these questions in his farce on the most ritualized, contrived and yet the most powerful of all art forms: the opera. But his answers remain as ineffable as the questions that seek them. In the end, who we arecomposer, performer, or audienceis a collaboration of our illusions on a stage from which we remain forever absent.
Cast of 1 woman and 4 men.
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- VerlagTalonbooks
- Erscheinungsdatum2000
- ISBN 10 0889224420
- ISBN 13 9780889224421
- EinbandTapa blanda
- Anzahl der Seiten112
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All the Verdis of Venice (Paperback)
Verlag:
Talon Books, Vancouver
(2000)
ISBN 10: 0889224420
ISBN 13: 9780889224421
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Buchbeschreibung Paperback. Zustand: new. Paperback. All great art has the ability to move people collectively, to create within it some essential, participatory expression of their humanity, their culture, their heritage. But who creates this art? What is it that gives some individuals the power or the gift to create such works? Who are these works written for? Does the composer have a particular muse, or are they inspired by an abstraction, a composite muse? Who owns this great art? Is it illegitimate for either the author, the muse, or the people to claim it as their own? Do they all have a moral right to its power, its imagination, its authenticity? Can great artists be forced to create utilitarian works specifically designed for some great or even banal purpose, to forge a nation or to pay one's creditors, or does such an exercise always and necessarily create an empty shell? Can a lover of Verdi ever, in any sense, become Verdi? If so, what happens to the person they left behind, no matter how briefly? Who is the "real" Verdi? Can he ever be found, and loved, by anyone? Normand Chaurette addresses all of these questions in his farce on the most ritualized, contrived and yet the most powerful of all art forms: the opera. But his answers remain as ineffable as the questions that seek them. In the end, who we are composer, performer, or audience is a collaboration of our illusions on a stage from which we remain forever absent. Cast of 1 woman and 4 men. "Invites its audience to think about the nature of self and its socio-cultural construction, as well as the nature of fame, the role of cultural iconography, but doesn't presuppose answers. The play is never didactic, and more enjoyable for it." Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. Bestandsnummer des Verkäufers 9780889224421
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