Celluloid Ring of the Nibelung: Wagner “Cinematified”, or on “Cinematographic” Stagings of Wagner’s Musical Dramas
Abstract
The author discusses classic and contemporary staging of Richard Wagner’s musical dramas, made by the masters of cinema and referring to the theory and practice of the German composer, who in his work somehow foresaw the existence of the cinema and who thought in the aesthetic categories later developed by the creators of the Tenth Muse. Staging of the works of Wagner are a repayment of a debt to the great composer. They do not so much reconstruct the visual and musical vision of the composer of the Lohengrin, using the language of film, but fulfil Wagner’s postulate that a total work of art can be created. In the text the author discusses productions of Wagner’s work by such masters of the cinema as Eisenstein, Visconti, Chereau, Syberberg and Bill Viola, who in their artistic pursuit realised the ideas of Gesamtkunstwerk. Kletowski shows the process of “cinematifying” of contemporary art of opera (especially the works of Wagner, but also others), which art using the principle of “reverse transaction” also shapes the modern Tenth Muse, that often refers to elements of opera.
Keywords:
Richard Wagner, Gesamtkunstwerk, operaReferences
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Authors
Piotr Kletowskikwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Filmoznawca; adiunkt w Instytucie Studiów Międzykulturowych Uniwersytetu Jagiellońskiego. Specjalizuje się w badaniu kina autorskiego. Jest autorem monografii twórców kina światowego. Opublikował m.in. książki: Filmowa odyseja Stanleya Kubricka (2006) i Pier Paolo Pasolini. Twórczość filmowa (2013).
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