{"id":15166,"date":"2024-02-02T14:12:24","date_gmt":"2024-02-02T05:12:24","guid":{"rendered":"https:\/\/www.waseda.jp\/inst\/cro\/?p=15166"},"modified":"2024-02-02T14:57:16","modified_gmt":"2024-02-02T05:57:16","slug":"information-of-monthly-regular-meeting-january-2023-the-208th-meeting-of-opera-research-group-2-2-2-2-3-2-2-3","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/inst\/cro\/news-en\/2024\/02\/02\/15166\/","title":{"rendered":"Report of  Monthly Regular Meeting January 2024 (The 216th Meeting of Opera Research Group)"},"content":{"rendered":"<h3>\u00a0<span class=\"fontstyle0\">Report of <\/span>Monthly Regular Meeting January 2024 (The 216th Meeting of Opera Research Group)<\/h3>\n<p>Waseda Institute for Research in Opera and Music Theatre (WIROM), Comprehensive Research Organization,Waseda University<\/p>\n<ul>\n<li>Time and Date: January 20th (Sat.) 2024, 16:30 &#8211; 18:00 (JST)<\/li>\n<li>Format: Online meeting (Zoom)<\/li>\n<li>Presenter:\u00a0 ARAMATA, Yusuke<\/li>\n<li>Affiliation: Daito Bunka University, Department of Foreign Languages<\/li>\n<li>Title: \u201c \u201a(S)cheinbar ganz schlicht\u2018\u2013 A play within a play and Zerbinetta\u2019s self-direction\u201d<\/li>\n<li>Language: Japanese<\/li>\n<li>Abstract: A play within a play forcefully conveys to the audience the impression that what is being portrayed lies somewhere between truth and falsehood. A typical example is the wardrobe scene with which \u201cAriadne auf Naxos\u201d begins. The soprano who sings Ariadne and the tenor who portrays Bacchus enter the stage without costumes or wigs, providing a behind-the-scenes view. Their appearance lacks the aura of mythical figures.<br \/>\nOnly one character, Zerbinetta, remains the same throughout the performance, for the coquette of commedia dell\u2019arte always plays \u201cherself.\u201d But is this assessment correct? It must be remembered that Zerbinetta herself claims that she only plays the role of the coquette.<br \/>\nHow this claim is understood has a significant impact on the interpretation of the entire work. Perhaps this is where the perspectives of the author H. v. Hofmannsthal and the composer R. Strauss diverge. The stage directions warn us not to take Zerbinetta\u2019s statement literally, but the music seems to ignore this completely.<br \/>\nIn this presentation, I analyze the interactions between Hofmannsthal\u2019s text and Strauss\u2019s music, with a specific focus on Zerbinetta\u2019s stage presence and sincerity.<\/li>\n<li>Profile of Presenter: Yusuke Aramata is an associate professor at Daito Bunka University, Department of Foreign Languages. At Waseda University, he studied the literary movement of young writers at the end of the 19th century, focusing on the lyric dramas of Hugo von Hofmannsthal. He has written articles mainly on the literature of the Wiener Moderne. Recent articles on this topic are:<br \/>\n\u201eLinearit\u00e4t und Kreislauf: Naturgenuss und k\u00fcnstlerisches Schaffen in Hugo von Hofmannsthals Prosawerk Sommerreise.\u201c (Waseda Bl\u00e4tter Nr. 30, 2023)<br \/>\n\u201eDie Kugel des Erzengels und ihre Verwandlung. Das Licht in Hofmannsthals Prosawerk Erinnerung sch\u00f6ner Tage.\u201c (Waseda Bl\u00e4tter Nr. 26, 2019)<br \/>\n\u201eErz\u00e4hltes, reflektiertes und fiktionalisiertes Leben. Zu Schnitzlers Novelle Casanovas Heimfahrt.\u201c In: Nachleben der Toten. Autofiktion. (IUDICIUM Verlag M\u00fcnchen, Japanische Gesellschaft f\u00fcr Germanistik, 2017).<\/li>\n<li>Moderator: KITAGAWA, Chikako<\/li>\n<\/ul>\n<p><span class=\"fontstyle0\">\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \uff0a <\/span><span class=\"fontstyle2\">Comment: There were 28 participants<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00a0Report of Monthly Regular Meeting January 2024 (The 216th Meeting of Opera Research Group) Waseda Institute f [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":4807,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[95],"tags":[87,82,73],"class_list":["post-15166","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en","tag-arts-en","tag-events-en","tag-research-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/15166","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/comments?post=15166"}],"version-history":[{"count":1,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/15166\/revisions"}],"predecessor-version":[{"id":15453,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/15166\/revisions\/15453"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media\/4807"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media?parent=15166"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/categories?post=15166"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/tags?post=15166"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}