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| Since the 1980s, the term ‘music theatre’ has come to include any live project that uses the techniques and theories of avant-garde theatre and performance art to experiment with new ways of combining music and theatre; this has been extended to include some of the historical works which influenced the music theatre of the 1960s, such as ]’s ''Pierrot Lunaire'' (1912), ]’s ''L’Histoire du soldat'' (1918) and ]’s ''Mahagonny Songspiel'' (1927).{{sfn|Rebstock|2017|p=527–531}}{{sfn|Hall|2015|p=4}}<ref>As the composer Alexander Goehr writes, 'I believed that new forms of Music Theatre, created by ourselves and like-minded friends, would only succeed if I could find a pedigree of existing related repertoire to perform along with the new pieces': cited in his introduction to {{harvnb|Hall|2015|p=x}}</ref> The unconventional scale and unfamiliar aesthetic language of this work often positions it outside of the established traditions, institutions and discourses of opera and musical theatre. For this reason, the genre has also been called '''new music theatre''' and '''experimental music theatre'''.<ref>For 'new music theatre', see {{harvnb|Adlington|2019|p=1–11}}. For 'experimental music theatre', see {{harvnb|Bithell|2013}}.</ref> | Since the 1980s, the term ‘music theatre’ has come to include any live project that uses the techniques and theories of avant-garde theatre and performance art to experiment with new ways of combining music and theatre; this has been extended to include some of the historical works which influenced the music theatre of the 1960s, such as ]’s ''Pierrot Lunaire'' (1912), ]’s ''L’Histoire du soldat'' (1918) and ]’s ''Mahagonny Songspiel'' (1927).{{sfn|Rebstock|2017|p=527–531}}{{sfn|Hall|2015|p=4}}<ref>As the composer Alexander Goehr writes, 'I believed that new forms of Music Theatre, created by ourselves and like-minded friends, would only succeed if I could find a pedigree of existing related repertoire to perform along with the new pieces': cited in his introduction to {{harvnb|Hall|2015|p=x}}</ref> The unconventional scale and unfamiliar aesthetic language of this work often positions it outside of the established traditions, institutions and discourses of opera and musical theatre. For this reason, the genre has also been called '''new music theatre''' and '''experimental music theatre'''.<ref>For 'new music theatre', see {{harvnb|Adlington|2019|p=1–11}}. For 'experimental music theatre', see {{harvnb|Bithell|2013}}.</ref> | ||
| Music theatre projects are often composer-led, with the composer deciding many elements of the text, staging and design which would usually be determined by a librettist, director or designer.{{sfn|Rebstock|Roesner|2012|p=21}} Examples of key music theatre artists who compose and direct their work include ], ] and Mauricio Kagel.{{sfn|Rebstock|2017|p=539}} Some music theatre artists, such as ], ] and ], also perform their own work. However, not all music theatre artists are composers. Some, like ] and ], are predominantly directors; others create work as part of an ensemble or collective of artists, such as Song of the Goat and Die Maulwerker.{{sfn|Rebstock|2017|p=536, 538}} | Music theatre projects are often composer-led, with the composer deciding many elements of the text, staging and design which would usually be determined by a librettist, director or designer.{{sfn|Rebstock|Roesner|2012|p=21}} Examples of key music theatre artists who compose and direct their work include ], ] and Mauricio Kagel.{{sfn|Rebstock|2017|p=539}} Some music theatre artists, such as ], ] and ], also perform their own work.{{sfn|Rebstock|2017|p=561}} However, not all music theatre artists are composers. Some, like ] and ], are predominantly directors; others create work as part of an ensemble or collective of artists, such as Song of the Goat and Die Maulwerker.{{sfn|Rebstock|2017|p=536, 538}} | ||
| The validity of music theatre as a genre distinct from opera and musicals varies according to the national context.{{sfn|Salzman|Desi|2008|p=4}}{{sfn|Rebstock|2017|p=529}} In some countries, like Germany and Belgium, the concept is widely understood and supported by a dedicated infrastructure of festivals, venues and funding bodies; in other countries, it is wholly subsumed within opera, theatre or performance art, or else banished to a marginal status beyond categorisation.{{sfn|Rebstock|2017|p=545}} Nevertheless, a renewed compositional interest in non-sonic, theatrical and ‘performative’ elements from 21st century composers such as Johannes Kreidler, ] and ] has led to a resurgence in interest in the genre and its history.{{sfn|Adlington|2019|p=6}} | The validity of music theatre as a genre distinct from opera and musicals varies according to the national context.{{sfn|Salzman|Desi|2008|p=4}}{{sfn|Rebstock|2017|p=529}} In some countries, like Germany and Belgium, the concept is widely understood and supported by a dedicated infrastructure of festivals, venues and funding bodies; in other countries, it is wholly subsumed within opera, theatre or performance art, or else banished to a marginal status beyond categorisation.{{sfn|Rebstock|2017|p=545}} Nevertheless, a renewed compositional interest in non-sonic, theatrical and ‘performative’ elements from 21st century composers such as Johannes Kreidler, ] and ] has led to a resurgence in interest in the genre and its history.{{sfn|Adlington|2019|p=6}}{{sfn|Walshe|2016|p=5}}{{sfn|Shlomowitz|2018|p=72}} | ||
| ===Bibliography=== | ===Bibliography=== | ||
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Music theatre is a performance genre that emerged over the course of the 20th century, in opposition to more conventional genres like opera and musicals. The term came to prominence in the 1960s and 1970s to describe an avant-garde approach to instrumental and vocal composition that included non-sonic gesture, movement, costume and other visual elements within the score. Unlike operas, these compositions (such as György Ligeti’s Aventures (1962), Mauricio Kagel’s Match (1964) and Peter Maxwell Davies’s Eight Songs for a Mad King (1968)) were intended to be performed on a concert hall stage, potentially as part of a longer programme of pieces.
Since the 1980s, the term ‘music theatre’ has come to include any live project that uses the techniques and theories of avant-garde theatre and performance art to experiment with new ways of combining music and theatre; this has been extended to include some of the historical works which influenced the music theatre of the 1960s, such as Arnold Schoenberg’s Pierrot Lunaire (1912), Igor Stravinsky’s L’Histoire du soldat (1918) and Kurt Weill’s Mahagonny Songspiel (1927). The unconventional scale and unfamiliar aesthetic language of this work often positions it outside of the established traditions, institutions and discourses of opera and musical theatre. For this reason, the genre has also been called new music theatre and experimental music theatre.
Music theatre projects are often composer-led, with the composer deciding many elements of the text, staging and design which would usually be determined by a librettist, director or designer. Examples of key music theatre artists who compose and direct their work include Georges Aperghis, Heiner Goebbels and Mauricio Kagel. Some music theatre artists, such as Laurie Anderson, Meredith Monk and Robert Ashley, also perform their own work. However, not all music theatre artists are composers. Some, like Robert Wilson and Christoph Marthaler, are predominantly directors; others create work as part of an ensemble or collective of artists, such as Song of the Goat and Die Maulwerker.
The validity of music theatre as a genre distinct from opera and musicals varies according to the national context. In some countries, like Germany and Belgium, the concept is widely understood and supported by a dedicated infrastructure of festivals, venues and funding bodies; in other countries, it is wholly subsumed within opera, theatre or performance art, or else banished to a marginal status beyond categorisation. Nevertheless, a renewed compositional interest in non-sonic, theatrical and ‘performative’ elements from 21st century composers such as Johannes Kreidler, Simon Steen-Andersen and Jennifer Walshe has led to a resurgence in interest in the genre and its history.
Bibliography
- Adlington, Robert (2005). "Chapter 14: Music theatre since the 1960s". In Cooke, Mervyn (ed.). The Cambridge Companion to Twentieth-Century Opera. Cambridge: Cambridge University Press. pp. 223–243. ISBN 0-521-78009-8.
- Adlington, Robert, ed. (2019). New Music Theatre in Europe: Transformations between 1955–1975. Abingdon: Routledge.
- Bithell, David (2013). "Experimental music theater". Grove Music Online (8th ed.). Oxford University Press. doi:10.1093/gmo/9781561592630.article.A2240884. ISBN 978-1-56159-263-0.
- Clements, Andrew (2001). "Music theatre". Grove Music Online (8th ed.). Oxford University Press. doi:10.1093/gmo/9781561592630.article.19452. ISBN 978-1-56159-263-0.
- Hall, Michael (2015). Music Theatre in Britain 1960–1975. Woodbridge: The Boydell Press. ISBN 978-1-78327-012-5.
- Rebstock, Matthias; Roesner, David, eds. (2012). Composed Theatre: Aesthetics, Practices, Processes. Bristol: Intellect. ISBN 978-1-84150-456-8.
- Rebstock, Matthias (2017). "Varieties of Independent Music Theatre in Europe". In Brauneck, Manfred (ed.). Independent Theatre in Contemporary Europe: Structures–Aesthetics–Cultural Policy. Bielefeld: transcript. pp. 523–573. ISBN 978-3-8376-3243-9.
- Salzman, Eric; Desi, Thomas (2008). The New Music Theater: Seeing the Voice, Hearing the Body. New York: Oxford University Press. ISBN 978-0-19-509936-2.
- Shlomowitz, Matthew (July 2018). "Where Are We Now?". Tempo. 72 (285): 70–73. doi:10.1017/S0040298218000116.
- Walshe, Jennifer (May 2016). "The New Discipline". MusikTexte: Zeitschrift für Neue Musik. 149: 3–25.
References
- Salzman & Desi 2008, p. 5.
- Rebstock 2017, p. 528.
- Clements 2001.
- Hall 2015, p. 4–5.
- Rebstock 2017, p. 527–531.
- Hall 2015, p. 4.
- As the composer Alexander Goehr writes, 'I believed that new forms of Music Theatre, created by ourselves and like-minded friends, would only succeed if I could find a pedigree of existing related repertoire to perform along with the new pieces': cited in his introduction to Hall 2015, p. x
- For 'new music theatre', see Adlington 2019, p. 1–11. For 'experimental music theatre', see Bithell 2013.
- Rebstock & Roesner 2012, p. 21.
- Rebstock 2017, p. 539.
- Rebstock 2017, p. 561.
- Rebstock 2017, p. 536, 538.
- Salzman & Desi 2008, p. 4.
- Rebstock 2017, p. 529.
- Rebstock 2017, p. 545.
- Adlington 2019, p. 6.
- Walshe 2016, p. 5.
- Shlomowitz 2018, p. 72.