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Eötvös Péter Love and Other Demons Című Operájának Dramaturgiája És Kifejezőeszközei

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Eötvös Péter Love and Other Demons Című Operájának Dramaturgiája És Kifejezőeszközei Liszt Ferenc Zeneművészeti Egyetem 7.6 számú Doktori iskola EÖTVÖS PÉTER LOVE AND OTHER DEMONS CÍMŰ OPERÁJÁNAK DRAMATURGIÁJA ÉS KIFEJEZŐESZKÖZEI MEGYERI KRISZTINA DOKTORI ÉRTEKEZÉS TÉMAVEZETŐ: GRABÓCZ MÁRTA 2013 Liszt Ferenc Zeneművészeti Egyetem 7.6 számú Doktori iskola EÖTVÖS PÉTER LOVE AND OTHER DEMONS CÍMŰ OPERÁJÁNAK DRAMATURGIÁJA ÉS KIFEJEZŐESZKÖZEI MEGYERI KRISZTINA DOKTORI ÉRTEKEZÉS TÉMAVEZETŐ: GRABÓCZ MÁRTA 2013 i Tartalomjegyzék I.Keletkezéstörténet, librettóátalakítások.....................................................................1 I.1. Előzmények I.1.1 Előzmények, kortárszenei kontextus.................................................1 I.1.2 Eötvös Péter pályájáról és a késői korszak nyelvezetéről................6 I.2. A keletkezés körülményei.............................................................................12 I.2.1. A felkérésről és az opera keletkezéséről.........................................12 I.2.2. Az előadásokról és a rendezésről....................................................14 I.2.3. A zenekarról....................................................................................18 I.3. Genezis..........................................................................................................20 I.3.1. Regény, librettó(k), opera...............................................................20 I.3.2. Összevonások.................................................................................23 I.3.3. A regényszöveg átalakítása.............................................................25 I.3.4. A librettó átdolgozásai....................................................................31 I.3.5. Szereplők viszonyrendszerei, a regénytől az operáig.....................35 I.3.5.1 Delaura és Sierva..............................................................35 I.3.5.2 Martina és Sierva..............................................................36 I.3.5.3 Ygnacio és Sierva.............................................................37 I.3.6. Elidegenítés....................................................................................37 I.4. Hiedelemrendszerek......................................................................................40 I.4.1. Az exorcizmus................................................................................40 I.4.2. Egyházkritika..................................................................................41 I.4.3. Afrikai istenek.................................................................................43 I.5. Az őrület aktualitása......................................................................................47 I.6. A korszak és az áldozat..................................................................................51 I.7. Időszemlélet és filozófiai háttér.....................................................................56 II. Nyelvi és és zenei-stiláris rétegek elemzése............................................................64 II.1. Az afrikanizmusok rétege............................................................................69 II.1.1. Stilizálás, afrikai kolorit................................................................69 II.1.2. A kórus alkalmazása......................................................................72 II.1.3. Afrikanizmusok a szólistáknál.......................................................73 II.2. A latin réteg..................................................................................................81 II.2.1. Szövegválasztás.............................................................................81 II.2.2.Orgánum és modern mixtúrák........................................................82 ii II.2.3. Az Érsek jelenetei..........................................................................83 II.3. A kollázs-technika és a barokk réteg...................................................................86 II.4. Az örmény-hebraisztikus réteg............................................................................95 II.5. Josefa jelenetei...................................................................................................101 II.5.1. Josefa és Ygnacio levéljelenete...................................................101 II.5.2. Josefa: a transz rétege.................................................................105 II.6. Hangközhasználat és hangközszimbolika............................................................106 II.6.1. A bartóki anyanyelv és a hangközszimbolika...........................106 II.6.2. A tonalitás kérdése....................................................................109 II.6.3 A Sierva-sor..............................................................................110 II.6.4. Az Evokáció hangköz hangsorai..............................................114 II.7. A szerelmi jelenetek és a spanyol réteg.............................................................115 II.7.1. A spanyol réteg...........................................................................115 II.7.2. A szerelmi jelenetek zenei anyaga..............................................117 II.8. A Martina-Sierva jelenet és hangközhasználata................................................119 II.8.1 Martina-Sierva jelenet hangközviszonyai..................................123 II.9. Állandó kifejezőeszközök..................................................................................128 II.10. Nyelvek és stílusok: konklúzió..........................................................................135 III. A nagyforma dramaturgiája...............................................................................142 III.1. A nagyforma időarányai.....................................................................................142 III.1.1. Proporcionálás............................................................................142 III.1.2. Belső világok: a dramaturgiai tagolás........................................149 III.1.3. Keretes szerkezet a szereplőmezőknél.......................................150 III.2. Jelenetek: kisformák..........................................................................................152 III.2.1. Jelenet, arányok, osztott jelenetek..............................................152 III.2.2. Kisformák: recitativo és ária......................................................155 III.3. Szereplőmezők az operában..............................................................................157 III.3.1. Két térfél....................................................................................157 III.3.2. Szereplőmezők időbeli elosztása...............................................159 III.3.3.A „kint” és „bent” váltakozása: a külső és belső tér...................162 III.4. Keretes szerkezet: evokáció, prológus, epilógus...............................................166 III.5. Dramaturgiai-stiláris jegyek...............................................................................170 III.5.1. Vokális-dramaturgiai kifejezőeszközök és stílusjegyek.............170 III.5.2. Az Angels in America és a Love... közös jegyei.........................171 iii III.6. A zenekar és az elektronika..............................................................................173 III.6.1. Zenekari hatások..................................................................................173 III.6.2. Az elektronika dramaturgiai szerepe....................................................175 Bibliográfia.................................................................................................................179 Függelék.......................................................................................................................187 Függelék 1 ‒ Teljes bibliográfia és filmográfia.........................................................187 Függelék 2 ‒ Charlotte Hacker interjúja Eötvös Péterrel..........................................196 Függelék 3 ‒ Szinopszis............................................................................................199 Függelék 4 ‒ Joruba dalszövegek fordításaikkal.......................................................201 Függelék 5 ‒ Latin szövegek fordításaikkal..............................................................202 Függelék 6 ‒ Táblázat a jelenetekről..........................................................................o.n. Külön kötetben Függelék 7 ‒ A librettó fordítása...................................................................................1 iv Fakszimilék jegyzéke 1. kottapélda....................................................................................................................53 2. kottapélda....................................................................................................................73 3. kottapélda....................................................................................................................74 4a kottapélda...................................................................................................................77 4b kottapélda...................................................................................................................77 5. kottapélda....................................................................................................................79 6. kottapélda....................................................................................................................82 7. kottapélda....................................................................................................................84
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