Singing Actors and Dancing Singers

This article looks at two recent and widely recognized productions of Henry Purcell's Dido and Aeneas (by choreographer Sasha Waltz, Berlin 2005, and theatre director Sebastian Nübling, Basel 2006) and discusses three main aspects: 1. Genre: coming from a Tanztheater (Waltz) and a Sprechtheater (Nübling) background, each director renegotiates conventions of the operatic genre and consciously evades expectations in pursuit of a new and challenging experience for both the performers and their audience. 2. Physicality: both productions place the performers' bodies at the forefront of the mise-en-scne they remap the singing, dancing, acting body by questioning conventions and expectations commonly found in the production and reception process. 3. Adaptation: both productions take unconventional liberties by adapting in a domain where notions of Werktreue (fidelity to the original work or score) still reign. Adopting ideas from Nicholas Cook and Mikhail Bakhtin, I will argue that the conceptual, musical and theatrical implications of both productions indicate a renegotiation of the social and performative relevance of operatic performance

Singing Actors and Dancing Singers. Oscillations of genre, physical and vocal codes in two contemporary adaptations of Purcell’s Dido and Aeneas

This article looks at two recent and widely recognized productions of Henry Purcell's Dido and Aeneas (by choreographer Sasha Waltz, Berlin 2005, and theatre director Sebastian Nübling, Basel 2006) and discusses three main aspects: 1. Genre: coming from a Tanztheater (Waltz) and a Sprechtheater (Nübling) background, each director renegotiates conventions of the operatic genre and consciously evades expectations in pursuit of a new and challenging experience for both the performers and their audience. 2. Physicality: both productions place the performers' bodies at the forefront of the mise-en-scne they remap the singing, dancing, acting body by questioning conventions and expectations commonly found in the production and reception process. 3. Adaptation: both productions take unconventional liberties by adapting in a domain where notions of Werktreue (fidelity to the original work or score) still reign. Adopting ideas from Nicholas Cook and Mikhail Bakhtin, I will argue that the conceptual, musical and theatrical implications of both productions indicate a renegotiation of the social and performative relevance of operatic performance