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Le conflit des normes à l’opéra

Abstract : Opera is born with two competing ideals: the ideal of the Greek music and the ideal of the Greek tragedy. This initial ambiguity leads to frequent normative conflicts on the theoretical, artistic and aesthetical levels. Staging a work of fictional and theatrical art is not identical to staging an analogic storytelling based on a work of music. Evaluative criterions about a good vocal interpretation are also in conflict: do we have to privilege musical criterions, or are some musical defaults acceptable in the name of the theatrical truth? Aesthetic experience of an opera is often in a fragile position inside the hierarchy of the sensorial registers, particularly between visual and sound’s registers. On the theoretical stage, there is finally a problem with the status of singing in opera: is it just a part of the musical medium, or does it have a fictional function?
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Contributor : Maud Pouradier Connect in order to contact the contributor
Submitted on : Wednesday, July 13, 2022 - 12:00:14 PM
Last modification on : Monday, August 22, 2022 - 2:42:27 PM






  • is version of hal-03215076 - Conférence remaniée pour publication dans la Nouvelle Revue d'Esthétique


Maud Pouradier. Le conflit des normes à l’opéra. Nouvelle Revue d'Esthétique, Presses Universitaires de France 2022, Arts en marge, 1 (29), pp.117-126. ⟨10.3917/nre.029.0117⟩. ⟨hal-03722270⟩



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