BEITRÄGE SUSAN RUTHERFORD 'Unnatural gesticulation' or 'im geste sublime? Dramatic performance in opera Opera has always been seen as well as heard. However, as Roland Bardies said, 'In the theatre, in the cinema, in traditional literature, things are always seenjfo;^ somewhere^ He is alluding not only to the positioning within the spectacle or text, but also to the spectator's response, fashioned as it is by historical determinants of culture and class: in the theatre, we might also include material factors such as the angle of perception afforded by, say, a seat in the gods as opposed to a private box. This essay is similarly concerned with perspectives and framing, and the import of the visual element in opera rather than the aural. By Visual' I do not mean the broader spectacle of design and stage landscape, which constitute part of all theatrical forms, but rather the element that is entirely particular (if not 'peculiar') to opera: the visible expression of drammaper musica as embodied physically by the singer. . The effectiveness of that expression has long been questioned. On a May evening in 1833, the British actor William Macready returned home from his attendance at a visiting German
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BEITRÄGE
Follow Arcadia - Internationale Zeitschrift für Literaturwissenschaft / International Journal for Literary Studies
, Volume 36 (2)
de Gruyter – Jan 1, 2001
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