Musical Dramaturgy

variations on its redefinition

Authors

Keywords:

Musical Dramaturgy, Arts in Contact, Opera

Abstract

Historically the attraction for multimedia events and their multitasking effectiveness has been an impetus for aesthetic achievements. From Mesopotamian epic performances to today's installations, one can well hear and visualize the realization of fascination around diverse and integrated acts of representation. Within the long tradition of dramatic-musical works, there is another tradition that has appropriated the activity of proposing to an in situ audience a particular spectacle that focuses precisely on the limits and possibilities of its elaboration. This other reflexive-operational tradition provides us with a privileged field of observation to follow and discuss the difficulties of integrating sound and image in a multimedia range

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Author Biography

Marcus Mota, Universidade de Brasília

All his mature life was devoted to the University of Brasilia, Brazil. After undergrad in Humanities in 1988, he got a master on Theory of Literature, researching Bachelard and imagination of death in Adonias Filho's works in 1992.
Marcus Mota started teaching at the Performing Arts Department of the University of Brasilia in 1995.
His doctoral research was about Aeschylus and the musical dramaturgy, in 2002.
Since then, Marcus Mota has produced many papers and Theatrical Plays.
He's also Editor in Chief of Dramaturgies, a journal based on DramaLab, where he explores exchanges between music and theatre.
Besides that, he is a composer and novelist.

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Published

2020-03-19

How to Cite

Mota, Marcus. 2020. “Musical Dramaturgy: Variations on Its Redefinition”. Música Em Contexto 13 (2):01-24. https://periodicos.unb.br/index.php/Musica/article/view/30075.

Issue

Vol. 13 No. 2 (2019)

Section

Artigos

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