21. yüzyıl kültür endüstrisi içinde opera temsil anlayışının otantik ve anakronistik reji düşünceleri bağlamı ile rıgoletto ve la travıata operaları örnekleminde karşılaştırmalı değerlendirilmesi
A comparative evaluation of opera representation in the 21st century culture industry within the context of authentic and anachronistic regie thoughts in the sample of rigoletto and la traviata operas
- Tez No: 821622
- Danışmanlar: DOÇ. DR. RAŞİT GÖRKEM AYTİMUR
- Tez Türü: Yüksek Lisans
- Konular: Müzik, Music
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2023
- Dil: Türkçe
- Üniversite: ANKARA MÜZİK VE GÜZEL SANATLAR ÜNİVERSİTESİ
- Enstitü: Müzik ve Güzel Sanatlar Enstitüsü
- Ana Bilim Dalı: Müzikoloji Ana Bilim Dalı
- Bilim Dalı: Müzikoloji Bilim Dalı
- Sayfa Sayısı: 163
Özet
Opera sanatının görünür kimliği, tarihsel ve toplumsal dinamiklerin etkisinde çağlar boyunca değişime uğramış ve bu durum çeşitli opera janrlarının ortaya çıkmasına neden olmuştur. Benzer şekilde operalar, kendi metinlerine kaynaklık eden konu ve reji anlayışı bağlamındaki çeşitlilik sayesinde, toplumsal ve kültürel değişimlerle ilişkili olarak alımlayıcının ilgi ve gereksinimleri karşılayacak dinamiğe, daima sahip olmuştur. Bu çalışmada da opera sanatına dair bu değişimlerin yapısı, iki farklı bakış açısının karşılaştırmasıyla ele alınmıştır. Opera repertuvarı içinde önemli bir yer teşkil eden Rigoletto ve La Traviata operalarının iki farklı reji anlayışıyla sahnelenmiş temsilleri karşılaştırmalı olarak değerlendirilmiştir. Bu operaların karşılaştırılmasında temel olarak, otantik ya da geleneksel olan ve ilk reji anlayışına atıfta bulunan eserler ile daha güncel çağrışımlı unsurlarla yapılanmış reji uygulamalarına sahip eserlerin temsilleri incelenmiştir. İlk zamanlarından bu yana opera sanatının seyirci ile kurduğu sosyo-kültürel ilişkilerin biçimleri ve dönemsel toplum dinamikleriyle birlikte değişen opera pratikleri, örnek olarak ele alınan eserlerin otantik ve anakronistik rejilerinin karşılaştırılması bağlamında ele alınarak belirtilmiştir. Çalışmanın iki kutbuna yerleştirilen eserlere ait farklı reji örneklerinin karşılaştırılması, 'klasik' olarak bilinen ve 'çok satılan' eserlerin günümüz müzik endüstrisi içindeki konumlarının, olası pazarlama stratejileriyle nasıl ele alındığına odaklanmıştır. Çalışmanın temel bağlamı gereğince de söz edilen eserlerin sahneye koyulurken uğradığı değişimlerin yapısı ve bu değişimlere duyulan ihtiyacın nedenleri temellendirilmiştir.
Özet (Çeviri)
This thesis aims to examine the understanding of opera representation in the 21st century culture industry in the context of authentic and anachronistic regie ideas and to present a comparative evaluation through Rigoletto and La Traviata operas. This study, carried out within the scope of descriptive data analysis, aims to present a critical perspective on how the different approaches are reflected in opera performances and how they affect the audience experience, emphasizing two important concepts such as the idea of authentic direction and the anachronistic regie approach. The visible identity of opera art has changed over the ages under the influence of historical and social dynamics, and this has led to the emergence of various opera genres. Adaptation and marketing have been key factors in the success of many operas throughout history. Opera composers and producers have often been adept at determining what audiences want to see and hear and adapt their works to meet those demands. Similarly, thanks to the diversity in the context of the subject and the understanding of the opera regie, which is the source of its own texts, opera has always had the dynamic to meet the interests and needs of its receiver in relation to social and cultural changes. As society developed, so did the subject and direction of operas, with new genres and styles emerging in response to changing tastes and interests. This gave rise to a variety of genres, from the splendid baroque operas of the 17th and 18th centuries to the more intimate and emotionally charged works of the Romantic era. Changes in stage design and production were also important in the evolution of opera. As technology improved and new materials and techniques emerged, opera companies were able to create increasingly elaborate and intricate sets and costumes. This allowed them to stage more visually stunning and immersive productions and to attract larger audiences. At the same time, opera has always been closely linked to the socio-cultural environment of the period. The relationship between opera and its audience has been shaped by a number of factors, including class, gender, and political ideology. Throughout history, opera has been used as a means of expressing and exploring these topics and engaging audiences in a dialogue about them. In this study, the changes in the stage as a result of the adaptation and marketing strategies of the 'best-selling' works of the baroque, classical and romantic periods, rather than the opera works composed in the 21st century has been addressed. In the context of the study the comparison of different stage styles, the socio-cultural environment and eras related to the relationship of opera art with the audience since its birth are researched. The opera practices, which have changed together, are discussed in the context of traditional and time-lapse directories. In recent years, the opera industry has faced challenges in attracting and retaining younger audiences, as opera is often perceived as an art form that is inaccessible or unattractive to the younger generation. As a result, opera houses and companies started experimenting with new forms of opera, such as incorporating multimedia and technology into performances or creating new works that reflect contemporary social and political issues. These changes have sparked debate over the direction and historical roots of opera as an art form, or whether it should adapt to the needs and interests of a changing society. In addition, the globalization of culture and the increase in audience diversity have also affected the opera industry. Opera companies are facing the challenge of appealing to a wider audience, including those from different cultural backgrounds and with different tastes and preferences. This has led to the emergence of new types of opera, such as fusion opera that blends different musical traditions, or opera that incorporates elements of popular culture. In general, changes and developments in the art of opera reflect the ever-evolving nature of society and culture. As the audience and their needs and interests change, so does the art form. While some may argue that opera should stay true to its historical roots and traditions, others believe that opera must evolve and adapt in order to remain relevant and accessible to audiences in the modern world. Therefore, the future of opera as an art form remains uncertain, but debates and debates regarding its direction and development continues. Finally, the relationship between opera and its audience has been shaped by a number of socio-cultural factors and has been the main driver of change throughout its history. In this study, the structure of these changes in the art of opera is discussed by comparing two different perspectives. This study is based on a sampling of Giuseppe Verdi's operas Rigoletto and La Traviata. Both operas are among Verdi's best-known works and are frequently exposed to different directorial approaches. For this reason, a comparative analysis will be carried out on different versions of Rigoletto and La Traviata. The performances of these operas, staged with two different regie understandings, were evaluated comparatively. As mentioned before, the study focuses on opera examples that are examined within the context of an anachronistic directorial approach. These works are also referred to in the literature as modern staging, regieoper, or time-shifted staging, indicating different directorial concepts. Modern staging involves interpreting themes and characters of classical theater works in a contemporary manner, allowing audiences to perceive the connections between classic works and modern life through a creative and innovative perspective. Additionally, the study encompasses various staging types such as digital staging, interactive staging, experimental staging, collaborative staging, and sustainable staging, making its scope extensive and inclusive. Regieoper, on the other hand, is a staging approach where the director plays a more dominant role in theater productions. This approach involves reinterpreting classical theater works, emphasizing creativity in staging, enabling actors to work more freely, utilizing modern technologies on stage, and creating an interactive experience for the audience. However, due to the possibility of using this directorial approach in different contexts beyond a contemporary perspective, it was not preferred as the framework for this study. Another staging approach, time-shifted staging, is a technique where the chronological sequence of events is disrupted, and different segments of the story set in various time periods are combined. Directors employing this technique attempt to convey the different dimensions of the story and temporal changes by presenting different time periods simultaneously on stage. In the context of this study, the examined works have been completely transferred from their respective eras to another period. However, due to the time-shifted staging approach focusing on intertwined different time periods within a single work, this technique was deemed unsuitable for the study. Lastly, the mentioned directorial approach is anachronistic staging, which involves presenting a theatrical work in a time period different from its original historical atmosphere or setting. This technique, suggesting the use of certain temporal elements outside their era, can transport the entire content of a work to a different period or sometimes change only a single temporal element. Despite the usage of anachronistic staging in this manner, it should be noted that it is the most suitable directorial concept for the study within its context. Accordingly, the relevant opera works, Rigoletto and La Traviata, have been evaluated comparatively using this directorial approach. In contrast to anachronistic staging, authentic staging is a directorial approach that involves presenting a performance or work by carefully examining its original text, history, and cultural context while remaining faithful to them. Although this approach may be confused with traditional approaches that represent accepted and repeated staging methods for a certain period, the concept of authentic staging aims to recreate the intentions of the original creators of a play, opera, or ballet performance as accurately as possible. Thus, it was considered more suitable within the context of the study than the traditional approach. To sum up, in the comparison of these operas, the representations of the works that are authentic and refer to the first regie understanding and the representations of the works that are structured with more contemporary associative elements have been examined. The forms of socio-cultural relations that the art of opera has established with the audience since its early days, and the changing opera practices with the periodic social dynamics, are discussed in the context of comparing the authentic and anachronistic directories of the works considered as examples. The comparison of different styles of the works placed at the two poles of the study focused on how the positions of the 'classical' and 'best-selling' works in today's music industry are handled with possible marketing strategies. In accordance with the basic context of the study, the structure of the changes that the mentioned works undergo while they are staged and the reasons for the need for these changes are based.
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