Musicality in (the) Theatre. Concepts and practices of interart processes in theatre making

这本书的关键前提是探索“音乐性”的概念，作为过去和现在戏剧从业者的关键纲领性概念。音乐，既是一种声学现象，也是一种塑造和组织空间和时间的象征性语言，经常被用作其他艺术的典范，特别是在其历史的关键时刻，戏剧。戏剧导演、演员和理论家如歌德、克莱斯特、布莱希特、梅耶霍尔德或克雷格都表达了他们的愿望，希望戏剧像音乐一样，演员能培养出敏锐的节奏感，导演能像作曲家或指挥家一样控制戏剧表达方式的复调。因此，他们认为“音乐性”在戏剧和戏剧制作中是必要的。为了研究这一现象，我将首先提出一个更广泛的音乐性概念，将其作为一种具体化的思维框架，而不是个人的能力或才能，并将引入集体音乐性的概念。我的意思是，音乐性的概念可以更广泛地应用于戏剧的物质和非物质元素，例如一方面是身体、文本、物体，另一方面是光、时间或声音。然后，我将从五个主要方向探讨音乐性的概念：1。它的历史维度，因为它存在于几个世纪以来和国家的戏剧纲领性著作中（主要是欧洲戏剧）。我将特别探讨戏剧中的节奏、即兴创作、形式和结构、乐谱和符号，以及隐喻，如戏剧表达方式的复调或身体和舞台作为乐器。我将把这些音乐性的历史概念与当代的实践和过程进行比较。我将把这些发现放在当代艺术间理论和方法论的背景下，这些理论和方法论关注的是对传统的艺术形式之间的界限和艺术与生活本身之间的界限的日益质疑。我将根据我在第1章和第2章的发现，确定并指出跨部门实践的关键特征和策略。4. 我将试图调查我的发现对我们更广泛的戏剧性和音乐性概念的影响。“戏剧性”已被证明是一个富有成效的概念，不仅用于研究戏剧作为一种艺术形式的具体过程和实践，而且还用于研究这些特征如何在其他地方应用和发生。同样，我将寻求一种“音乐性”的概念，这种概念在音乐本身的领域之外是富有成效的，例如在戏剧过程中，但也在生活的其他领域（通信，医学，IT等）。最后，我将通过为戏剧专业人士和教师举办演讲和研讨会来解决影响的问题，他们将在他们的创作和教学实践中更好地理解戏剧的音乐性，因为它大大拓宽了戏剧制作的方法范围。报告/研讨会将基于我自己目前和以前的研究以及实践和教学经验。这个研究项目的成果将是有价值的戏剧历史学家和理论家谁对过去和最近的发展对跨艺术实践和理论感兴趣，以及戏剧从业者以及教师在整个创意部门，谁感兴趣的创作和过程跨艺术学科。该研究项目建立在我之前研究的成功基础上，该研究在国际公认的AHRC资助的关于“设计组合戏剧的过程”的研讨会系列中得到了阐述，在当代德国戏剧的音乐化方面获奖的论文（2008年）和在表演者和导演培训中的音乐性方面的受邀主题演讲/文章（2009年）。

SummaryThe key premise of this book is to explore the notion of 'musicality' as a key programmatic concept for theatre practitioners past and present. Music, both as an acoustic phenomenon and a symbolic language which shapes and organises space and time, has frequently been employed as a model for other arts and in particular the theatre at key moments of its history. Theatre directors, actors and theoreticians such as Goethe, Kleist, Brecht, Meyerhold or Craig have expressed their desire for theatre to be like music, for actors to develop an acute sense of rhythm, for directors to control the polyphony of theatrical means of expression like a composer or conductor would. They have thus argued for the necessity of 'musicality' in (the) theatre and in theatre making.In order to investigate this phenomenon I will initially suggest a widened notion of musicality as a frame of embodied mind rather than an individual ability or talent, and will introduce ideas of a collective musicality. By this I mean that the notion of musicality can be more widely applied to both the material and immaterial elements of the theatre, such as bodies, texts, objects on the one hand and light, time, or sound on the other. I will then explore this notion of musicality in five main directions: 1. Its historical dimension as it is present in programmatic writings of the theatre across the centuries and countries (focussing on European theatre). I will explore in particular notions of Rhythm in Theatre, Improvisation, Form and Structure, Scores and Notations, and metaphors such as the Polyphony of Theatrical Means of Expression or of Bodies and Stages as Instruments.2. I will compare these historical notions of musicality to contemporary practices and processes.3. I will contextualise the findings in contemporary interart theory and methodology, which are concerned with the increasing questioning of both the boundaries between art forms in their traditional separation into disciplines and between art and life itself. I will identify and pinpoint key characteristics and strategies of interart practices based on my findings in 1 and 2. 4. I will seek to investigate the implications of my findings for our wider notions of theatricality and musicality. 'Theatricality' has proven to be a fruitful concept not only for investigating what is specific about the processes and practices of theatre as an art form, but also how these characteristics apply and occur elsewhere. Similarly, I will seek to arrive at a notion of 'musicality' that is productive outside the realm of music itself, for example in theatre processes, but also in other areas of life (communication, medicine, IT etc.).5. Finally, I will address the question of impact by developing a presentation and workshop for theatre professionals and pedagogues, who will benefit from a better understanding of musicality in (the) theatre in their creative and pedagogical practice as it significantly widens the range of approaches to theatre making commonly available. The presentation / workshop will based on my own current and previous research as well as practical and pedagogical experiences.The outcomes of this research project will be valuable to theatre historians and theoreticians who are interested in past and recent developments towards interart practices and theories, and to theatre practitioners as well as pedagogues across the creative sector, who are interested in creation and process across artistic disciplines. The research project builds on the success of my previous research, which was articulated in the international recognised AHRC funded workshop series on 'Process of Devising Composed Theatre', the award-winning essay on Musicalisation in Contemporary German Theatre (2008) and an invited keynote/article on Musicality in Performer and Director Training (2009)