Òpera i mite Una reflexió suggerent en el marc de la Postmodernitat
Orfeu plora la mort del seu amor en l’adaptació de Pina Baush de l’òpera Orfeu i Eurídice de Gluck , (17:02)
Mite Relat explicatiu del món/ Anònim/ Transmissió oral/ Xarxa de mites sistemàtica i coherent/ Caràcter imaginatiu i fantàstic
El Fris de les Panatenees del Partenó. Fídies
El mite constituit per dues substàncies: el real i l’ideal Fídies quan esculpia curosament els vestits i els cossos voluptuosos de les deesses del fris del Partenó, d’alguna manera, les estava fent presents, les estava invocant i recreant. No eren un simple element decoratiu.
La suprahumanitat Cada persona, objeto u experiencia en la tierra era una réplica, una pálida sombra de una realidada en el mundo divino. El mundo sagrado era, por tanto, el prototipo de la existencia humana, y como era mucho más rico, fuerte y resistente que ninguna otra cosa sobre la tierra, hombres y mujeres deseaban con desesperación participar en él. (...) Ésa era la experiencia de los pueblos de la antigüedad. Sólo cuando imitaban a los dioses en rituales y abandonaban la solitaria y frágil individualidad de sus vidas en el tiempo actual existían de verdad. Alcanzaban su verdadera humanidad cuando dejaban de ser sólo ellos mismos, y repetían los gestos de otros. Karen Armstrong La gran transformación
Les reelaboracions del mite La generació de mites fou l’obertura de la caixa de Pandora en tant que el mite no s’esgotà en un sol període de la història, el seu poder ha generat constants reelaboracions que han definit el devenir històric de la cultura occidental. En aquesta constant projecció diacrònica de la mitologia grega, aquesta ha anat absorbint alhora que perdent algunes dimensions.
Reelaboracions del mite de Pandora: Representació en vaixella grega
John William Waterhouse La caixa de Pandora
Marca de joies que recupera el mite per connotà comercialment el producte.
L’escriptor i antropòleg Albert Sánchez Piñol també reprèn el mite en una de les seves obres. L’equació E= mc2 d’ Einstein també s’ha interpretat sovint com l’obertura d’una caixa de Pandora que tingué conseqüències catastròfiques.
L’òpera
La Camerata Fiorentina
El Ponte Vecchio de Florència, el bressol del Renaixement i l’òpera.
Les reflexions que condueixen al naixement de l’òpera en el Renaixement tardà (s. XVI).
El teatre grec, el gran referent Teatre d’Epidaure (s. IV aC)
La monodia Cant a una sola veu Fragment transcrit de la partitura de l’Epitafi de Seikilos.
El madrigal, el precedent
Il·lustració de músics renaixentistes interpretant un madrigal amb l’acompanyament habitual del llaüt.
Fragment del madrigal Il bianco e dolce cigno de J. Arcadelt.
La polifonia Cant a més d’una veu. Sorgeix a partir de la tradició musical eclesiàstica medieval.
L’obra d’art total
En el mite, els Déus ocupen el temps terrenal dels éssers humans; en l’art (en l’òpera) els éssers humans cerquen la transcendència i l’eternitat del temps dels Déus.
Fragment de La primavera de Botticelli on es representa Cupido amb els ulls envenats apunt de disparar la fletxa de l’amor.
Ludwig Schorr von Carolsfeld i la seva esposa Malvina el dia de l’estrena del Tristany i Isolda de Wagner. El cantant morí de forma repentina després de quatre representacions.
Jdfklsdlfkjaslñdfjalñsdjfañlsdjfalñsjdflajsdflajsdfljasdlf jasñldfalsjdfalsjdflasdflasdlfkañsdjfaldkjfañsdjfalkdjfal ksjdflkajsdflkjasñdljfaskldjfaklsdjfñaklsdjfñklasdjdfñlja sdñlfjaslkdjfñasldjfñasdfñasdfñkjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj I avui, on cerquem la nostra jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
“suprahumanitat” ?
jjjjjjjjjjjjjjjjjjj
Flors al cos, Ana Mendieta. 1973