\u25c7Time and Date\uff1aNovember 2nd (Sat.) 2024, Research Report 16:30 – 18:00, Keywords Report 18:10 – 19:10 (JST)<\/p>\n
\u25c7Format: Online meeting (Zoom)<\/p>\n
\u25c7Presenter: MORIOKA, Miho, Chuo University<\/p>\n
\u25c7Speaker: OKAMOTO, Yoshiko, Kobe University<\/p>\n
\u25c7Moderator: MORIMOTO, Yoriko<\/p>\n
\u25c7Language\uff1aJapanese<\/p>\n
\u25c7Organized by\uff1aWaseda Institute for Research in Opera and Music Theatre (WIROM), Comprehensive Research Organization, Waseda University<\/p>\n
The term \u201cblackface\u201d is used to describe the practice of non-black performers using theatrical makeup to paint their skin black, thereby appearing to be black on stage or in entertainment. This practice is now considered highly offensive and inappropriate, as it has historically been used to portray black people as caricatured figures based on a discriminatory viewpoint. The representation of roles that have been traditionally played in \u201cblackface\u201d is one of the key initiatives for anti-discrimination in the performing arts world today. This presentation will examine current approaches to the representation of Monostatos, the \u201cMoor,\u201d in Mozart\u2019s The Magic Flute<\/em> as an example of such roles. Drawing on a recent paper on the subject, \u201cBlackness and Whiteness in The Magic Flute<\/em>: Reflections from Shakespeare Studies\u201d (2023) by Adeline Mueller, I will add further perspectives to this paper using available stage videos from the 1980s to the present, my own records of the 25 performances I have seen in the past, and critical articles on the performances of this opera in the British magazine Opera<\/em> over the past 20 years.<\/p>\n Miho Morioka is a Professor of Chuo University, Faculty of Economics. Her special research field is the analysis of political representation in opera productions by contemporary directors (e.g., Richard Jones, Peter Konwitschny, William Kentridge, Vasily Barkhatov). She is the author of Viewing the world through Opera Houses<\/em>. (2013). She is also a contributor to Construction of Modern Japan in Gender Discourses<\/em> (2003), Gender History Series, Volume 4: Visual Representation and Music<\/em> (2010), The Art of Love – An Introduction to Queer Reading<\/em> (2013), Arts Updated – Film, Opera and Literature<\/em> (2014), Renovation of the Arts<\/em> (2020), and An Invitation to Global Cultural History<\/em> (2023).<\/p>\n This study focuses on The Miraculous Mandarin<\/em>, created by Lengyel and Bart\u00f3k, examining the dramaturgical difference and the relationship between the stage version and the suite version, and compares them to assess their stage effects and the reception of the work.<\/p>\n \u25c7Keywords: Bart\u00f3k, Dance, Suite, Reception<\/p>\n Yoshiko Okamoto is a lecturer at the Graduate School of Intercultural Studies, Kobe University, Japan. She received her M.A. in 2010 and Ph.D. in 2014 from the University of Tokyo, with a doctoral thesis on Bart\u00f3k\u2019s opera, Duke Bluebeard\u2019s Castle<\/em>. Her main interest is in Bart\u00f3k\u2019s stage works and their relationship to literature. From 2011 to 2012, she received support from the Hungarian Scholarship Board and carried out research at the Budapest Bart\u00f3k Archives, Institute for Musicology of the Hungarian Academy of Sciences. Her publications include \u201cImages of the friendship with Bart\u00f3k: From B\u00e9la Bal\u00e1zs\u2019s Recollections,\u201d Hungarian Studies<\/em>, 28(2): 211-234 and \u201cB\u00e9la Bart\u00f3k\u2019s controversy with G\u00e9za Moln\u00e1r in 1911: As a member of the \u2018Transitional generation,\u2019\u201d Studia Musicologica<\/em>, 58(2): 129-146.<\/p>\n Registration<\/strong><\/p>\n Registration is required by November 1st (Fri.). Please register through the following URL:<\/p>\n https:\/\/list-waseda-jp.zoom.us\/meeting\/register\/tJwvf-urqTItHNZ7NZoO4HvWB9a3M_LYDWil<\/a><\/p>\n *Please show your full name on the display, mute yourself, and turn off the video, except when talking; refrain from taking screenshots, recordings, etc., and follow the moderator\u2019s instructions.<\/p>\n Waseda Institute for Research in Opera and Music Theatre (WIROM), Comprehensive Research Organization, Waseda University: https:\/\/prj-opera-mt.w.waseda.jp<\/u><\/a><\/p>\n e-mail address: operaken-uketsuke[at]list.waseda.jp\u3000([at] = @) \u25c7Time and Date\uff1aNovember 2nd (Sat.) 2024, Research Report 16:30 – 18:00, Keywords Report 18:10 – 19 […]<\/p>\n","protected":false},"author":4,"featured_media":9946,"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-17479","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\/17479","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=17479"}],"version-history":[{"count":2,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/17479\/revisions"}],"predecessor-version":[{"id":17628,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/posts\/17479\/revisions\/17628"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media\/9946"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/media?parent=17479"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/categories?post=17479"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/cro\/wp-json\/wp\/v2\/tags?post=17479"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Profile of Presenter<\/h5>\n
Keywords Report: OKAMOTO, Yoshiko<\/h3>\n
Abstract<\/h5>\n
Profile of Speaker<\/h5>\n
Contact<\/strong><\/h5>\n
\n(This information will be sent later by\u00a0Facebook <\/a>and X (Twitter).<\/a> You can see it there, too.)<\/p>\n","protected":false},"excerpt":{"rendered":"