Die to Entertain: Carnivalesque Elements in the Contemporary
Baroque Opera Productions

k 2025

Die to Entertain: Carnivalesque Elements in the Contemporary Baroque Opera Productions

HAVLÍČKOVÁ KYSOVÁ, Šárka

Základní údaje

Originální název

Die to Entertain: Carnivalesque Elements in the Contemporary Baroque Opera Productions

Autoři

HAVLÍČKOVÁ KYSOVÁ, Šárka

Vydání

IFTR/FIRT: Performing Carnival: ekstasis, subversion, metamorphosis, Köln, Deutschland, 2025

Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

60403 Performing arts studies

Stát vydavatele

Německo

Utajení

není předmětem státního či obchodního tajemství

Označené pro přenos do RIV

Organizační jednotka

Filozofická fakulta

Klíčová slova anglicky

theatre; music; Baroque; performance; art of dying; carnival

Příznaky

Mezinárodní význam, Recenzováno

Změněno: 16. 1. 2026 08:51, doc. Mgr. Šárka Havlíčková Kysová, Ph.D.

Anotace

V originále

The emergence of opera in the early Baroque or Mannerist (Sýkora 2011) period was closely tied to the carnival season and commedia dell'arte. Some works by the "operatic Shakespeare," Claudio Monteverdi, were premiered during the carnival season (e.g., The Coronation of Poppea and others). In my presentation, I will open the question of whether or in what form the performative elements of Carnival, such as carnality, eroticism, or even brutality, permeate contemporary opera productions. The analysis draws mostly on Mikhail Bakhtin's theory of Carnival (1975), Joseph Kerman's (e.g., 2008), Silke Leopold (2002, 2017), and Ellen Rosand's (1991, 2007) analyses of Baroque opera's dramaturgy, and also on Linda and Michael Hutcheon's perspective approaching opera as the "art of dying" (2009). The paper focuses mostly on recent Czech productions, such as The Coronation of Poppea, directed by Tomáš Ondřej Pilař (Pilsen 2020) and Vladimír John (Brno, 2023), respectively, taking into consideration also foreign productions (e.g. C. Bieito's, Barcelona, 2023). The analysis specifically explores how the productions of Baroque opera reinterpret carnivalesque elements in their staging, blending historical authenticity with contemporary performative strategies. Also, the interplay between the carnivalesque and the “sublime” is examined, considering how these dynamics resonate with modern audiences. The analysis raises the question of what these carnivalesque elements bring to today's productions – do they enrich the narrative, support or disrupt traditional interpretations, or serve other functions? Additionally, it seeks to determine whether these contemporary productions draw on specific stereotypes or conventions in their approach to staging Baroque opera, potentially shaping the audience's perception of the genre.

Návaznosti

MUNI/A/1713/2024, interní kód MU

Název: Aktuální výzvy divadelních studií II.

Investor: Masarykova univerzita, Aktuální výzvy divadelních studií II.

Citovat

HAVLÍČKOVÁ KYSOVÁ, Šárka. Die to Entertain: Carnivalesque Elements in the Contemporary Baroque Opera Productions. In IFTR/FIRT: Performing Carnival: ekstasis, subversion, metamorphosis, Köln, Deutschland. 2025.

@proceedings{2547550,
   author = {Havlíčková Kysová, Šárka},
   booktitle = {IFTR/FIRT: Performing Carnival: ekstasis, subversion, metamorphosis, Köln, Deutschland},
   keywords = {theatre; music; Baroque; performance; art of dying; carnival},
   language = {eng},
   title = {Die to Entertain: Carnivalesque Elements in the Contemporary Baroque Opera Productions},
   year = {2025}
}

TY  - CONF
ID  - 2547550
AU  - Havlíčková Kysová, Šárka
PY  - 2025
TI  - Die to Entertain: Carnivalesque Elements in the Contemporary Baroque Opera Productions
KW  - theatre
KW  - music
KW  - Baroque
KW  - performance
KW  - art of dying
KW  - carnival
N2  - The emergence of opera in the early Baroque or Mannerist (Sýkora 2011) period was closely tied to the carnival season and commedia dell'arte. Some works by the "operatic Shakespeare," Claudio Monteverdi, were premiered during the carnival season (e.g., The Coronation of Poppea and others). In my presentation, I will open the question of whether or in what form the performative elements of Carnival, such as carnality, eroticism, or even brutality, permeate contemporary opera productions. The analysis draws mostly on Mikhail Bakhtin's theory of Carnival (1975), Joseph Kerman's (e.g., 2008), Silke Leopold (2002, 2017), and Ellen Rosand's (1991, 2007) analyses of Baroque opera's dramaturgy, and also on Linda and Michael Hutcheon's perspective approaching opera as the "art of dying" (2009). The paper focuses mostly on recent Czech productions, such as The Coronation of Poppea, directed by Tomáš Ondřej Pilař (Pilsen 2020) and Vladimír John (Brno, 2023), respectively, taking into consideration also foreign productions (e.g. C. Bieito's, Barcelona, 2023). The analysis specifically explores how the productions of Baroque opera reinterpret carnivalesque elements in their staging, blending historical authenticity with contemporary performative strategies. Also, the interplay between the carnivalesque and the “sublime” is examined, considering how these dynamics resonate with modern audiences. The analysis raises the question of what these carnivalesque elements bring to today's productions – do they enrich the narrative, support or disrupt traditional interpretations, or serve other functions? Additionally, it seeks to determine whether these contemporary productions draw on specific stereotypes or conventions in their approach to staging Baroque opera, potentially shaping the audience's perception of the genre.
ER  -

HAVLÍČKOVÁ KYSOVÁ, Šárka. Die to Entertain: Carnivalesque Elements in the Contemporary Baroque Opera Productions. In \textit{IFTR/FIRT: Performing Carnival: ekstasis, subversion, metamorphosis, Köln, Deutschland}. 2025.

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