Contemporary theatre music as cultural practice

在这个项目中，德语剧院中的当代戏剧音乐将作为一种文化技术进行分析，特别关注其对新戏剧发展的重大影响。一方面，由于制作的数字化，声音、噪音和音乐在排练过程中与戏剧的其他元素发挥着更灵活、更平等的作用，从而从它们主要的支持作用中解放出来。另一方面，舞台上的音乐创作行为和音乐家作为表演者或角色已经成为一种新的戏剧表演美学的形成因素。该项目的主要目的是分析这些形式的风景音乐与新戏剧和表演美学的发展之间复杂的相互作用。两个主要的研究问题是：1)数字时代音乐制作的重大转变对戏剧音乐和戏剧的关系有什么影响？2)音乐制作与戏剧舞台的结合发展出了哪些新的表演形式？虽然乍一看，这似乎是两种不同的发展，如果不是相反的话，这两种趋势——数字化和景观整合——实际上往往是相互交织和相互影响的。它们应该结合起来研究。因此，将特别注意：a)增加戏剧音乐制作的模拟和数字模式的整合；B)在概念和个人方面，对传统的导演和作曲分工的质疑；c)表演和“音乐”之间的表演模式的融合(Chr。小)。由于上述问题，该项目的次要目标是：3)将戏剧音乐的戏剧性作为过程和产品进行调查：在概念化、舞台和排练阶段，戏剧结构和原则的发展都是令人感兴趣的，结果是戏剧如何在给定的生产中表现出来。4)描述、记录和分析方法的发展和反思，这些方法适用于调查上述音乐和戏剧表演的相互作用。本次调查的主题需要对戏剧研究、音乐学、民族志、经验社会学和现象学的跨学科交叉领域的方法进行对话，这些方法将被开发和评估。为了成功开展这项研究，我们申请了一名博士生（66%）和一名行政助理（25%），参观演出和进行访谈的旅费，以及举办两次研讨会和一次会议的资金。总之，这将使我们能够从互补的角度和与从业者本身密切合作来处理这个问题。

In this project, contemporary theatre-music within German-language theatres will be analyzed as a cultural technique with particular focus on its significant impact on the development of new dramaturgies. On the one hand, sounds, noises and music play a more flexible and equal role amongst other elements of theatre in the rehearsal process, due to the digitalisation of production, and have thus emancipated from their primarily supportive role. On the other hand, acts of music-making on the stage and the musician as a performer or character have become formative elements of a new aesthetic of theatrical performance. The main aim of the project is to analyze the complex interplay between these forms of scenic music and the development of new dramaturgies and performance aesthetics. Two main research questions are at the centre:1) What impact do the significant transformations in music production in the digital age have on the relationship of theatre music and dramaturgy?2) What new forms of performance are being developed by the integration of music-making onto the theatrical stage?While these seem to be two different if not contrary developments at first sight, both tendencies - digitalisation and scenic integration - are in actuality often interwoven and mutually influential. They should this be studied in conjunction. Particular attention will therefore be given to: a) increasing integration of analogue and digital modes of theatre-music production; b) the interrogation of traditional divisions of labour with regard to directing and composing, both in conceptual and personal respect; c) the amalgamation of modes of performance between acting and "musicking" (Chr. Small).Subordinate aims of the project, as a consequence of the above questions, are: 3) to investigate the dramaturgy of theatre music both as processes and product: both the development of dramaturgical structures and principles during phases of conceptualising, staging and rehearsing are of interest, and the result, in the sense of how dramaturgy manifests itself in the given production.4) the development and reflection of methods of describing, documenting and analysing, which are suitable to investigate the above mentioned interplays of music and performance in theatre. The subject of this investigation requires a dialogue of methods from an interdisciplinary cross-section of theatre studies, musicology, ethnography, empirical sociology and phenomenology, which will be developed and evaluated..To conduct this research succcessfully, we apply for one doctoral student (66%) and an administrative assistant (25%), travel costs for visiting performances and conducting interviews, as well as funding to facilitate two workshops and a conference. Together, this will enable us to approach the subject from complementary perspectives and in a close collaboration with the practitioners themselves.