Page 170 - Weiss, Jernej, ur. 2019. Vloga nacionalnih opernih gledališč v 20. in 21. stoletju - The Role of National Opera Houses in the 20th and 21st Centuries. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 3
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vloga nacionalnih opernih gledališč v 20. in 21. stoletju
tain aspects in the work, or the importance of certain mergers: between text
and music, between music and gesture, between the musical and the visual,
between sound and space, between writing and improvisation, etc.
Among the works produced during the NOA festival, apart from the
compositions entitled ‘operas’, we find the following denominations:
Audovisual installation
Opera video shorts (Short music films)
Surreal farce or comic madrigal
Music, theatre and visual Performance
Audio play
Spatial mono opera in the dark
Audiovisual Project
Haiku opera
Video opera
Dance opera
Animated opera
Monodrama-operas
Film-opera
Mini opera-etude
Nano-opera
We note here an obvious desire to take the opera out of its institution-
al and conventional framework (“museographical”, Mauricio Kagel said),
limited by the genre of its repertoire, by its budget constraints and its ar-
chitectural space. We see the desire to loosen the constraints of academ-
ic codes, and to make not just an aesthetic turn, but also a fundamental
one. We also see a certain approach to going back to one’s roots: the quan-
tity and variety of operas are such that a synthesis has been made through
the historical etymology of the word ‘opera’, which means “work, doing,
action”.
Just by its name NOA emphasizes a junction between opera and ac-
tion, and above all, between the opera and its time. By prolonging, inevita-
bly, the avant-garde trends of the twentieth century, it invites the continu-
ation of blurring the boundaries between genres, and experimenting with
168
tain aspects in the work, or the importance of certain mergers: between text
and music, between music and gesture, between the musical and the visual,
between sound and space, between writing and improvisation, etc.
Among the works produced during the NOA festival, apart from the
compositions entitled ‘operas’, we find the following denominations:
Audovisual installation
Opera video shorts (Short music films)
Surreal farce or comic madrigal
Music, theatre and visual Performance
Audio play
Spatial mono opera in the dark
Audiovisual Project
Haiku opera
Video opera
Dance opera
Animated opera
Monodrama-operas
Film-opera
Mini opera-etude
Nano-opera
We note here an obvious desire to take the opera out of its institution-
al and conventional framework (“museographical”, Mauricio Kagel said),
limited by the genre of its repertoire, by its budget constraints and its ar-
chitectural space. We see the desire to loosen the constraints of academ-
ic codes, and to make not just an aesthetic turn, but also a fundamental
one. We also see a certain approach to going back to one’s roots: the quan-
tity and variety of operas are such that a synthesis has been made through
the historical etymology of the word ‘opera’, which means “work, doing,
action”.
Just by its name NOA emphasizes a junction between opera and ac-
tion, and above all, between the opera and its time. By prolonging, inevita-
bly, the avant-garde trends of the twentieth century, it invites the continu-
ation of blurring the boundaries between genres, and experimenting with
168
