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Singing corporeality: reinventing the vocalic body in postopera
Novak, J.
Publication date
2012
Link to publication
Citation for published version (APA):
Novak, J. (2012). Singing corporeality: reinventing the vocalic body in postopera.
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List of Contents
Introduction 1
Focusing on Body Singing 2
The Vocalic Body and Ventriloquism 3
Reinventing the Vocalic Body (in Opera) 5
Defining Postopera: History of the Term 7
Reinventing the Vocalic Body (in Theory) 9
Outlining the Research 12
Chapter 1
Body-Voice Gap, Postopera and Body/Voice Theory 15
Opera and the Body-Voice Gap 16
(Dis)Embodiment of Voice 18
Re-voicing 19
Defining Postopera: Opera after Drama 22
Exemplifying Postopera 24
Postopera vs. Post-Opera vs. Post-operatic 27
Singing Body and Body/Voice Theory 29
Barthes: The Grain of the Voice 31
Body, Voice, Identity: Theoretical Insights 32
Part 1 - VOICES BEYOND CORPOREALITY: PERFORMING SINGING AS UPGRADING Chapter 2
Singing beyond the Body: Uniqueness, Intruder and Prosthesis 36
Vocal Uniqueness 37
Music vs. Dramatic Text and Horror of Identity 42
Gendered Singing 44
The Intruder and Mimesis 46
Prosthesis and Amputation 48
Chapter 3
Monstrous Singing: The Politics of Vocal Existence 53
Staging Cloning 55
Dolly on the Postopera Stage 56
Cloning Humans, Artificial Intelligence and Religion as an Ethical Corrective 58
Dissecting Voice: Hearing the Monstrous Body 62
Singing Machine 66
Part 2 - THROWING THE VOICE, CATCHING THE BODY: OPERA, VENTRILOQUISM AND DE-SYNCHRONIZATION
Chapter 4
Operatizing the Film: Body without Voice and Voice without Body 74
Operatizing the Film 77
Synchronization, Dubbing and Playback 80
The Knot of Tight Synchronization: The Roaring Voice between Man and Animal 82
Postopera as Ventriloquism 86
Chapter 5
Singing Letters, Multiplied Bodies and Dissociated Voice 90
Between Absence and Presence: Men and Women in Writing to Vermeer 92 Between Subject and Object: The Singing Voice and Triplicate characters 95
Music, Libretto, Body, Voice: De/Synchronization 97
Writing Women and Écriture Féminine 99
Mediation, Postopera and Close-up 104
Part 3 - SINGING GENDER (AS A PERFORMANCE) Chapter 6
Voice and Gender Standing Apart 109
Towards the Postdramatic Condition of La Commedia (1): Multiplying Narratives 110 Towards the Postdramatic Condition of La Commedia (2): Deconstructing Characters 116 Towards the Postdramatic Condition of La Commedia (3): Mediating Stage Events 117
One Voice, Two Characters, Two Genders 121
Dante: Singing beyond Body 124
Chapter 7
Vocal Drag, Counter-Castrato and the Scandal of the Singing Body 128
A History of Being in Vocal Drag: From Voice of Authority to Gender Fiction 131
Living Backwards: Counter-Castrato 135
The Scandal of the Singing Body 137
Dystopia and Melancholy 140
Reinventing the Vocalic Body in Postopera: Conclusion 143
Acknowledgements 153
Summary in English 155
Summary in Dutch/Samenvatting 164
Bibliography 174
List of audio and video recordings 182
