Opera in cinema & cinema in opera
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Presentations & Public Speaking
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My presentation for the 12th IASS World Congress in Semiotic, Sofia, New Bularian University, 16-20 Sept. 2014.
Transcript of Opera in cinema & cinema in opera
- 1. In honorem Raina Kabaivanska
- 2. Opera vs. cinema
- 3. Three stages in opera film making 1. Documentary (reportage). 2. Real movies - differences in soundtracks performances: 2.1. Music score only; 2.2. Music score + natural sounds; 2.3. Music score + natural sounds + trailers + subtitles. 3. Documentary+.
- 4. The Problem
- 5. First attempts to profane the opera singing
- 6. First attempts to profane the opera singing Film opera trailer Stage opera trailer
- 7. Translation, of course Roman Jakobsons three kinds of translation: Intra-lingual translation or rewording is an interpretation of verbal signs by means of other signs of the same language. Inter-lingual translation or translation proper is an interpretation of verbal signs by means of some other language. Inter-semiotic translation or transmutation is an interpretation of verbal signs by means of signs of nonverbal sign systems.
- 8. Conversion (or Transfiguration) Fourth kind of translation. Inter-discourse translation. Conversion by means of another discourse framework.
- 9. How it works? To convert in word formation means to replace one grammar paradigm (e.g. verbal) with another (e.g. noun). Paradigm (from Kuhn to contemporary philosophy) - manner of thinking, manner of viewing the world. In our case: manner of camera moving.
- 10. Some (OPOYAZ) statements about the poetics of cinema Dominant: may be considered the focusing component of the work of art: it rules, determines and transform the remaining components. It is the dominant which guarantees the integrity of the structure. Roman Jakobson, The Dominant, 1935. In: Selected Writings, Vol.3 : Poetry of grammar and grammar of poetry (1962).
- 11. Dominant and linguistic empathy John kisses Mary [Mary is Johns wife]. John kisses his wife. Susumo Kuno: In producing natural sentences, speakers unconsciously make the same kind of decisions that film directors make about where to place themselves with respect to the events and states that their sentence are intended to describe.(p. 204). Functional Syntax. Anaphora, Discourse, and Empathy, University of Chicago Press, 1987.
- 12. The dominant in cinema Photogeny or cinegeny: empathy on (male) erotica. The cinema displaces the dominant feature of theatre - the audible word - with a new dominant: movement observed in details.
- 13. The knife in 2nd act of Tosca (Puccini) 1. Maria Callas & Tito Gobbi, ROH, 1964 dir. by Zeffirelli 2. Raina Kabaivanska & Sherill Milnes, 1976, dir. by De Bosio 3. Angela Gheorgiu & Ruggiero Raimondi, 2002, dir. by Jacquot
- 14. Thank you! http://bogeo.net