Beckett and Music: A practice-based investigation through a production of Stefano Gervasoni's Beckett music-theatre work 'Pas si'.

苏塞克斯大学歌剧和音乐戏剧研究中心（CROMT）应巴黎8大学欧洲当代音乐戏剧项目（DMCE）的邀请，将上演斯特凡诺·热瓦索尼的短篇音乐戏剧作品《Pas si》（1998/2008年修订），基于塞缪尔贝克特文本，在第四届年度DMCE研讨会在巴黎在2008年11月。DMCE于2005年在巴黎大学成立，汇集了在当代歌剧和音乐戏剧领域工作的欧洲音乐家，戏剧从业者和学者，以解决音乐戏剧的具体问题。CROMT自成立以来一直是该项目的合作伙伴。DMCE的主要研究问题是什么是特定于音乐戏剧的戏剧，考虑到不同音乐风格和形式，音乐时间和空间，歌声，本申请的第二组研究问题涉及塞缪尔·贝克特与音乐的关系的具体问题，尤其是作曲家如何处理他的文本背景的挑战。本课题的研究问题是：1。Gervasoni对Samuel Beckett的非戏剧文本的设置的戏剧性是什么？它在什么方面是戏剧性的/戏剧性的（或者可能是后戏剧性的）？2. Gervasoni的音乐语言的具体特征如何转化为戏剧/戏剧形式？3.音乐的空间性创造了哪些戏剧形式？4.如何在真实的时空中上演“帕斯”来传达作品的文本和音乐否定和擦除？5.贝克特的作品和音乐之间有什么关系？6.如何Gervasoni的方法贝克特的文本比较和对比贝克特的其他音乐设置？虽然贝克特对音乐非常感兴趣，但他很少参与音乐合作，并且明显不喜欢歌剧。然而，贝克特在许多作品中涉及了文字和音乐之间的关系，包括他的广播剧“文字与音乐”（1962年），他经常使用音乐类比来描述他的作品。有人说，贝克特的戏剧表明，如果你删除传统戏剧行动的所有方面，剩下的一件事是戏剧空间。另一方面，戏剧音乐的空间性常常被忽视。在这个项目中，我想测试的论文，音乐和戏剧空间之间的关系在于任何成功的音乐与贝克特的文本，音乐空间有自己的戏剧的必要性的参与的核心。贝克特的作品也涉及否定和擦除，他曾经特别哀叹文学不能“溶解，比如贝多芬的第七交响曲的声音表面，被巨大的停顿撕裂”。Stefano Gervasoni（生于1960年）是一群作曲家中的年轻成员，其中包括Luigi Nono（Gervasoni曾与他一起学习）Helmut Lachenmann和Salvatore Sciarrino，他们的音乐也可以说是对音乐声音表面的这种溶解的前景，影响了对传统音乐表达或形式的不同形式的否定。因此，该项目还将通过其“Pas si”的舞台表演来研究音乐戏剧的否定诗学。除了DMCE研讨会外，这部作品还将于10月在苏塞克斯大学音乐、英语、戏剧和媒体系举办的贝克特与音乐会议上展出。会议将讨论以下关键问题：1.贝克特的音乐思想; 2。贝克特在作品中对音乐的运用; 3.贝克特语言的“音乐性”，以及他作品中“作曲”的准音乐过程;作曲家对贝克特作品的反应。

The Centre for Research in Opera and Music Theatre (CROMT) at the University of Sussex has been invited by the projet Dramaturgie Musicale Contemporaine en Europe (DMCE) of the University of Paris 8, to present a staging of Stefano Gervasoni's short music-theatre work 'Pas si' (1998/revised 2008), based on a Samuel Beckett text, at the fourth annual DMCE symposium in Paris in November 2008. DMCE was established at the University of Paris in 2005 to bring together European musicians, theatre practitioners and academics working in the field of contemporary opera and music theatre to engage with the specific problematic of musical dramaturgy. CROMT has been a partner in the project since its inception.The primary research issue for the DMCE is the question of what are the dramaturgies that are specific to music-based theatre, considering the specific dramaturgical implications of different musical styles and forms, of musical time and space, of the singing voice, etc. A secondary set of research questions for this application relate to the specific issue of Samuel Beckett's relationship to music, and in particular the ways in which composers have approached the challenge of setting his texts. The Research Questions for the project are :1. What is the dramaturgy of Gervasoni's setting of a non-theatrical text by Samuel Beckett.? In what way is it theatrical/dramatic (or perhaps post-dramatic)? 2. How do the specific characteristics of Gervasoni's musical language translate into dramatic/theatrical forms? 3. What dramaturgical forms are created by musical spatiality? 4. How can a staging of 'Pas si' in real time and space convey the textual and musical negations and erasures of the work?5. What relationships are there between Beckett's work and music more generally? 6. How does Gervasoni's approach to Beckett's text compare and contrast to other musical settings of Beckett?Although Beckett was extremely interested in music, he entered into few musical collaborations, and explictly disliked opera. However, Beckett engaged with the relationship between words and music in a number of works, including his radio drama 'Words and Music' (1962), and he frequently used musical analogies in relation to the staging of his works. It has been said that Beckett's theatre demonstrates that, if you remove all aspects of conventional dramatic action the one thing left is theatrical space. The spatiality of music for the theatre, on the other hand, has often been overlooked. In this project I want to test the thesis that the relationship between musical and theatrical space lies at the heart of any successful musical engagement with Beckett's texts, and that musical space has its own dramaturgical imperatives. Beckett's writings also involve negation and erasure, and he once specifically bemoaned that literature couldn't be 'dissolved, like, for example the sound surface, torn by enormous pauses, of Beethoven's Seventh Symphony'. Stefano Gervasoni (b.1960) is a younger member of a group of composers that include Luigi Nono (with whom Gervasoni studied) Helmut Lachenmann and Salvatore Sciarrino whose music could also be said to foreground such dissolutions of the musical sound surface, effecting different kinds of negation of conventional musical expression or form. The project will also examine therefore the musico-dramatic poetics of negation through its staging of 'Pas si'. In addition to the DMCE symposium, the production will also be shown at a conference on Beckett and Music to be organised by the departments of Music, English and Drama, and Media at the University of Sussex in October. The conference will address the following key issues:1. Beckett's ideas on music; 2. Beckett's use of music in his work; 3. The 'musicality' of Beckett's language, and quasi-musical processes of 'composition' in his work; 4. How composers have responded to Beckett's work.