"Pinocchio" – Metamorphose des Sich-Zeigens in der Oper von Philippe Boesmans

Koerfer-Bürger, Angela (2018). "Pinocchio" – Metamorphose des Sich-Zeigens in der Oper von Philippe Boesmans In: Gartmann, Thomas; Schäuble, Michaela (eds.) Beiträge der Graduate School of the Arts II. Beiträge der Graduate School of the Arts: Vol. 2 (pp. 61-74). Bern: Graduate School of the Arts

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This article offers a performance analysis of Philippe Boesmans’s new opera Pinocchio (2017, Aix-en-Provence) to explore the potential of narrative and demonstrative representation as constitutive qualities of musical puppet theatre. Pinocchio combines significant criteria from puppet theatre within an epic form, and by means of the metamorphosis of the main character. Perceiving an imaginary, ideal body becomes possible. This perception is not necessarily related to a human being or to the materiality of a puppet.

Item Type:

Book Section (Book Chapter)

Division/Institute:

Bern Academy of the Arts
Bern Academy of the Arts > Institute Practices and Theories in the Arts
Bern Academy of the Arts > HKB Teaching

Name:

Koerfer-Bürger, Angela;
Gartmann, Thomas0000-0002-0892-0261 and
Schäuble, Michaela

ISSN:

2571-6328

ISBN:

978-3-9524098-9-3

Series:

Beiträge der Graduate School of the Arts

Publisher:

Graduate School of the Arts

Language:

German

Submitter:

Daniel Allenbach

Date Deposited:

27 Oct 2020 10:19

Last Modified:

31 Oct 2020 06:18

Related URLs:

ARBOR DOI:

10.24451/arbor.13238

URI:

https://arbor.bfh.ch/id/eprint/13238

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