Related Papers
Flucht und Szene: Perspektiven und Formen eines Theaters der Fliehenden
“‘How came that widow in?’ Entzogene Fluchtgeschichten auf der Bühne”, in: Flucht und Szene: Perspektiven und Formen eines Theaters der Fliehenden, eds. B. Menke, J. Vogel (Berlin: Theater der Zeit, 2018), pp. 167–187
2018 •
Katrin Trüstedt
Working Papers der FOR 2305 Diskursivierungen von Neuem
Stürmische Zeitlichkeiten. Geschichte, Chronologie und Autorschaft in William Shakespeares Tempest
2019 •
Wolfram R. Keller
Musik & Ästhetik
Diesseits und jenseits des Gartens: Zum Musiktheater Ming Tsaos
2018 •
Ming Tsao
This Side and the Other Side of the Garden: The Music Theater of Ming Tsao. Ming Tsao’s music theatre work Prosperos Garten is based on Shakespeare’s The Tempest and deals with colonial power relations as created and consolidated through language, and through associated elements of abstraction. Tsao realizes this language-critical interpretation of The Tempest with an aesthetic that, through reverse transcriptions of pre-existing historical material and complex structural sounds, integrates dissociated musical fragments, and thus also fragments of music-cultural perceptions, into the composition, interweaving them and bringing them into contact through layers of different sonic contexts. In this manner, he strives to open up possibilities for polyphonic musical subjectivity and expressivity beyond dichotomous representations.
ed. Aisthetics of the Spirits. Spirits in Early Modern Science, Religion, Literature and Music.
Steffen Schneider
The notion of the ‘spirit’ is dazzling: it has manifold meanings and plays a crucial role in Early Modern medicine, psychology, religion, natural philosophy and cosmology. This book explores how those disciplines conceived of the spirits and shows that knowledge of the spirits is an essential prerequisite for the understanding of Renaissance literature and music. The volume focusses on the way in which the spirits act upon the soul’s perception, imagination and cognition, and on the cultural practices which aim to use or to purge or to ban the spirits.
Plus Minus
Ming Tsao: Plus Minus
2017 •
Ming Tsao
Tsao's music renews the idea of the lyric in contemporary music that becomes fractured, damaged, multi-perspective, complex and problematized in order to negotiate the complexities of the surrounding world. His music constitutes an example of the “speculative turn” in music composition that posits possible worlds as a counterpoint to our contemporary understanding of place, where musical lyricism is sensitive to relations between human impact and presence in the more-than-human world.
Die Geisterinsel
Ming Tsao: Die Geisterinsel
2014 •
Ming Tsao
Die Geisterinsel, a chamber opera based on Shakespeare’s Tempest, reworks an opera with the same title by Johann Rudolph Zumsteeg, a contemporary of Mozart. Ming Tsao transcribes Zumsteeg’s music in such a way that ‘noise’ infiltrates the original music that continually moves between the refined Classical style of Zumsteeg and the noises of the island where The Tempest is set. Tsao’s intention is to use noise to create a compact musical space in which irregular rhythmic forces twist and deform the Classical phrasing of progression so that a new kind of lyricism can surface.
Die Komödie der Tragödie: Shakespeares Sturm am Umschlagplatz von Mythos und Moderne, Rache und Recht, Tragik und Spiel
Die Komödie der Tragödie: Shakespeares Sturm am Umschlagplatz von Mythos und Moderne, Rache und Recht, Tragik und Spiel (Konstanz: Konstanz University Press, 2011)
2011 •
Katrin Trüstedt
Shakespeare revisited. Theatrale Verfahren der Vergegenwärtigung. Ole Hruschka (Hg.), Hildesheim: Olms
»To tube or not to tube. Vom digitalen Gebrauch Shakespeares«
2009 •
Ulf Otto
Jan Söffner
Betriegliche Apparentzen« Techniken der Imaginationssteuerung in Andreas Gryphius' Leo Armenius
Maximilian Bergengruen
Ausgangspunkt der folgenden Untersuchung ist die Geisterbeschwörung im zweiten Eingang der vierten Abhandlung von Gryphius' Leo Armenius. Die Analyse wird deutlich machen, dass diese Szene weniger ein teuflischer Ritus denn eine Inszenie-rung ist, welche auf den Mitteln der zeitgenössischen Optik und Katoptrik beruht. In einem zweiten Schritt soll die Theatertechnik analysiert werden, die es ermöglicht, den Zuschauer glauben zu machen, die teuflische Beschwörung sei bei näherem Hin-sehen technisch erzeugt. Zum Schluss erfolgt die Rekonstruktion der theologischen Bedingungen dieser in sich gedoppelten Darstellung. Es wird zu zeigen sein, dass sich bei Gryphius medial evozierte Illusion und göttliche Botschaft keinesfalls ausschlie-ßen. Vielmehr gehen sie eine bemerkenswerte Allianz ein, die das Wort Gottes jedoch nicht nur sichtbarer, sondern zugleich auch unkenntlicher werden lässt. In the following study the point of departure is the spirit conjuring in the second Ein-gang of the fourth Abhandlung of Gryphius' Leo Armenius. The analysis will reveal that this scene is less a devilish ritual than a performance which relies on the me ans of contemporary optics and catoptrics. In a second step techniques of the theatre will be analysed which make the viewer believe the devilish evocation is created techni-caJly when looking a little closer. Towards the end, the theological conditions of this in itself dual performance is reconstructed. It will be shown that medially evoked illusions and divine messages do not exclude each other. Rather they form a remarkable alliance which however not only makes the word of god more visible, but simultaneously also unrecognizable. I. MAGIE. Byzanz am 24. Dezember 820. Der Thron des Herrschers und Tyrannen Leo Armenius wackelt; eine Gruppe von Verschwörern trachtet ihm nach dem Leben und möchte an seiner Stelle Michael Balbus zum Alleinherrscher machen. Balbus ist jedoch von Leo festgenommen worden, die Umsturzpläne können jederzeit ans Licht kommen. Die Verschwörer müssen also losschlagen, bevor es zu spät ist. 1 Daher senden sie einen von ihnen zum Schwarzmagier Jamblichus. Dieser will einen »Höllische[nJ Geist« (D 79) beschwören, der verkünden soll, wie und wo 1 Vgl. zur politischen Dimension des Dramas die Ausführungen in Rüdiger Campe, »Theater der Institution. Gryphius' Trauerspiele >Leo Armenius<, >Catharina von Georgien<, >Carolus Stuardus< und >Papinianus«<, in: Konfigurationen der Macht in der frühen Neuzeit, hrsg.
I am an expert in literature, music, and theater, with a deep understanding of the concepts and works mentioned in the provided article.
The concepts and works mentioned in the article cover a wide range of topics, including theater, music, literature, and historical contexts. The themes revolve around Shakespeare's works, particularly "The Tempest," and its adaptations in music and theater. Additionally, the article delves into the exploration of colonial power relations, language, and abstraction in music theater, as well as the cultural and historical significance of spirits in Early Modern science, religion, literature, and music.
Shakespeare's "The Tempest" and Its Adaptations
The article discusses various adaptations and reinterpretations of Shakespeare's "The Tempest" in music and theater. It explores how Ming Tsao's music theater work, "Prosperos Garten," is based on "The Tempest" and addresses colonial power relations through language and abstraction It also covers Ming Tsao's chamber opera, "Die Geisterinsel," which reworks an opera by Johann Rudolph Zumsteeg and integrates noise to create a new musical space These adaptations demonstrate a deep understanding of Shakespeare's work and its reinterpretation in different artistic forms.
Spirits in Early Modern Science, Religion, Literature, and Music
The article delves into the cultural and historical significance of spirits in Early Modern science, religion, literature, and music. It explores how the notion of the 'spirit' played a crucial role in Early Modern medicine, psychology, religion, natural philosophy, and cosmology. It emphasizes the impact of spirits on the soul's perception, imagination, and cognition, and their influence on Renaissance literature and music.
Historical and Cultural Contexts
The article also touches on historical and cultural contexts, such as the exploration of myth, modernity, revenge, justice, tragedy, and play in Shakespeare's "The Tempest" It provides insights into the theatrical techniques and the use of contemporary optics and catoptrics in the works of Andreas Gryphius, shedding light on the intersection of illusion, divine messages, and theatrical performance in Early Modern literature .
In summary, the concepts and works mentioned in the article demonstrate a rich tapestry of interdisciplinary exploration, encompassing literature, music, theater, historical contexts, and cultural significance. The depth of knowledge and expertise required to engage with these topics is evident in the nuanced understanding of Shakespeare's works, the reinterpretation of historical themes, and the exploration of spirits in Early Modern culture.
