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Regarding Rape: Representations of Sexual Violence on the Twenty-First-Century Operatic Stage

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Regarding Rape: Representations of Sexual Violence on the Twenty-First-Century Operatic Stage Regarding Rape: Representations of Sexual Violence on the Twenty-First-Century Operatic Stage E. Margaret Cormier Department of Music Research Schulich School of Music McGill University, Montréal November 2020 Submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy in Musicology © E. Margaret Cormier 2020 i CONTENTS Abstract .......................................................................................................................................... iii Résumé ............................................................................................................................................ v Acknowledgements ....................................................................................................................... vii Chapter 1: Introduction ................................................................................................................... 1 Literature Review .................................................................................................................. 5 Methodology.......................................................................................................................... 8 Chapter Outline ................................................................................................................... 13 Conclusion ........................................................................................................................... 15 Chapter 2: Die Entführung aus dem Serail: Violence and Agency in Captivity .......................... 18 Calixto Bieito’s Die Entführung aus dem Serail ................................................................. 20 Sexual Violence and Agency in Bieito’s Seraglio ..................................................... 24 Sexual Violence and Style in Bieito’s Seraglio ......................................................... 28 Nudity ............................................................................................................... 31 Realism ............................................................................................................. 34 Stage Action and Music .................................................................................... 36 Bieito’s Seraglio as Brothel ....................................................................................... 41 Violence and Desensitization ..................................................................................... 51 Wajdi Mouawad’s Die Entführung aus dem Serail ............................................................. 54 Agency and the Absence of Violence in Mouawad’s Seraglio .................................. 58 Conclusion ........................................................................................................................... 65 Chapter 3: Salome as Victim ........................................................................................................ 69 Atom Egoyan’s Salome ....................................................................................................... 73 Agency in Egoyan’s Dance of the Seven Veils ......................................................... 75 Style in Egoyan’s Dance of the Seven Veils.............................................................. 83 Other Productions, 2008–2018 ............................................................................................ 91 Salome and Freudian Regression ............................................................................... 92 Salome Takes Revenge .............................................................................................. 95 Salome is Denied the Head of Jochanaan .................................................................. 98 Herod Rapes Salome in the Present ......................................................................... 100 Salome’s Rape and Performativity .................................................................................... 102 Issues of Agency ...................................................................................................... 102 Issues of Style .......................................................................................................... 106 Critical Discourse .............................................................................................................. 111 Conclusion ......................................................................................................................... 118 Chapter 4: Watching Don Giovanni for Sexual Violence .......................................................... 123 Donna Anna, Donna Elvira, and Zerlina Onstage ............................................................. 125 Consent..................................................................................................................... 128 Donna Anna .................................................................................................... 128 Donna Elvira ................................................................................................... 133 Zerlina ............................................................................................................. 137 ii Believing Victims .................................................................................................... 145 Trauma ..................................................................................................................... 151 Donna Anna .................................................................................................... 151 Donna Elvira ................................................................................................... 154 Zerlina ............................................................................................................. 157 Conclusion ......................................................................................................................... 161 Chapter 5: Rape in/as Warfare .................................................................................................... 164 Tropes of Wartime Rape on the Operatic Stage ................................................................ 168 Rape as Performance ................................................................................................ 168 Musical Alienation ................................................................................................... 173 Power and Control ................................................................................................... 179 Dehumanization of the Other ................................................................................... 183 Extra-Textual Sexual Violence and Reception .................................................................. 187 Excavating Sexual Violence from the Canon .................................................................... 193 Conclusion ......................................................................................................................... 198 Conclusion: Ethical Criticism in Practice ................................................................................... 202 New Directions: Intimacy Choreography .......................................................................... 204 “We Have No Moral Obligation to ‘Great’ Art” ............................................................... 206 Appendix 1: Opera Plot Synopses .............................................................................................. 208 Die Entführung aus dem Serail ......................................................................................... 208 Salome ............................................................................................................................... 208 Don Giovanni .................................................................................................................... 209 Guillaume Tell ................................................................................................................... 210 La forza del destino ........................................................................................................... 210 Un ballo in maschera ........................................................................................................ 211 Turandot ............................................................................................................................ 212 Appendix 2: Salome Productions 2008–2018 Featuring Sexual Abuse of Salome .................... 213 Appendix 3: Don Giovanni Productions Online by Streaming Service ..................................... 214 Bibliography ............................................................................................................................... 215 Reviews Cited .................................................................................................................... 223 Die Entführung aus dem Serail ................................................................................ 223 Salome ...................................................................................................................... 223 Guillaume Tell.......................................................................................................... 227 La forza del destino ................................................................................................. 227 Un ballo in maschera ..............................................................................................
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