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Staging the Repertoire As Postopera a Narratological Analysis of the Staging of Madama Butterfly by Hotel Pro Forma (2017)

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Staging the Repertoire As Postopera a Narratological Analysis of the Staging of Madama Butterfly by Hotel Pro Forma (2017) Staging the Repertoire as Postopera A narratological analysis of the staging of Madama Butterfly by Hotel Pro Forma (2017) N.N.M. Nuijten 10440674 Master Dramaturgy, Universiteit van Amsterdam July, 2017 Supervisor: R.A. Franzen MA Table of contents Introduction……………………………………………………………………………………………….5 theoretical framework and method 8 introduction case study 10 Part 1. Narrative…………………………………………………………………………………………. 12 1.1 narratology…………………………………………………………………………………………12 1.1.1 different manners of speaking 12 1.1.2 narratology in the twentieth century 15 1.1.3 narrative levels 18 1.1.4 focalization 20 1.2 narratology in film……………………………………………………………………………… 22 1.2.1 diegesis of sound and music 24 1.2.2 different types of song 25 1.3 ambi-diegesis……………………………………………………………………………………...28 1.4 narratology in opera: dramatic, epic, dialectic? ………………………………………. 30 1.4.1 Wagner 32 1.4.2 Brecht 36 1.5 concluding Part 1…………………………………………………………………………………38 Part 2. Madama Butterfly……………………………………………………………………………... 41 2.1 story and origin………………………………………………………………………………….. 41 2.1.1 the libretto 43 2.2 narrative in the libretto and music of Madama Butterfly…………………………… 44 2.3 staging……………………………………………………………………………………………… 47 2.3.1 diegetic levels in Madama Butterfly 48 3 Silent scene 50 Fontana scene 51 2.3.2 ambiguous focalization in Madama Butterfly 52 2.3.3 music and the voice in Madama Butterfly 53 2.4 ambi-diegesis in Madama Butterfly……………………………………………………….. 55 2.5 Madama Butterfly: dramatic, epic, dialectic? ……………………………………………58 Part 3. Postopera………………………………………………………………………………………… 60 3.1 the postdramatic………………………………………………………………………………… 61 3.2 the postmodern…………………………………………………………………………………. 62 Conclusion………………………………………………………………………………………………… 65 Bibliography.…………………………………………………………………………………………….. 69 List of other sources 72 4 Introduction In the 2017 staging of Madama Butterfly at La Monnaie / De Munt in Brussels1, it is not just Puccini’s quintessential piece that we see re-staged. In this staging it is not the music, that haunting overture, that starts the performance. It is a woman walking slowly and silently to a small podium on the front of the stage, who in turn starts the music by stepping onto this confining square, where she will remain for the rest of the performance. It is she who tells the story; it is through her eyes that the audience sees Puccini’s opera, taking place on the stage behind her. She is Madama Butterfly, or rather her ghost, coming back after being dead for more than a hundred years, to tell us her story. The Danish director Kirsten Dehlholm, together with her collective Hotel Pro Forma, has made no cuts or adaptations to Puccini’s opera; it is left intact. However, the piece is in this case not staged as an ‘autonomous’ performance, but serves as a portrayal of the memory of the deceased Butterfly, the storyteller. It is not Puccini’s story that we see, it is Butterfly’s story, herself being present as a narrator. This staging altered the way the story is conveyed. Because of this, the whole piece transforms on multiple levels. It effects the time and space, the characters, the emotions it arouses and the way it is conceived by the audience. Hotel Pro Forma created a new performance around the original opera. By adding a narrator, the storyteller, another layer is built around the original narrative. Interestingly in this new layer of narrative the story is not communicated with words, but with actions. It is a visual, performative narrative, built around the original, textual and musical narrative. These two narratives are represented within the storyteller, who sings Puccini’s original melodies but acts out a performance conceived of by Hotel Pro Forma. She is isolated from her memory – the original opera – in time and space, but at the same time present in it because of her voice. On the stage behind her we see a puppet – mastered by three puppeteers – carrying out Butterfly’s actions in the original opera. The storyteller seems to be ‘in between’ of everything; in between the stage and the audience, in between the past and the present. Her voice exists in her memory, but her actions exist in the present. She is inside as well as outside of the opera. In this thesis I will investigate her ambiguous position as a narrator and how this influences the narrative structures of the performance. Matters of narrative belong to the realm of narratology. This field of study is concerned with questions of who is telling a story; of different ways of telling a story; of different layers in telling a story. Originally narratology is concerned with literature, but it 1 Premiered 2 February 2017 at Muntpaleis / Palais de la Monnaie in Brussels. See: https://www.lamonnaie.be/fr/static-pages/394-madama-butterfly. 5 has been applied to other fields of study such as film and theatre.2 In opera studies, narratology has mainly been adopted from a musicologist point of view.3 This point of view is mostly concerned with distinguishing different levels in the music of an opera; with how the music tells the story. In this thesis I will aim to take a broader look by investigating and combining a variety of narratological theories to come to terms with the different narrative layers in this particular staging of Madama Butterfly. Although touching upon different fields of study – opera, musicology, narratology, literature and film – the main objective of this thesis is dramaturgical. In simple terms, because it is not only concerned with questions of ‘how’ but also of ‘why.’ I will elaborate on this statement shortly. As many scholars have pointed out, it is difficult to define what dramaturgy is.4 I want to highlight one view that generally informs the position of dramaturgy in this thesis. In their text what is dramaturgy? theatre scholars Cathy Turner and Synne K. Behrndt quote Adam Versényi who defines dramaturgy as “the architecture of the theatrical event, involved in the confluence of components in a work and how they are constructed to generate meaning for the audience.”5 Following this dramaturgical principle I will not merely investigate how Hotel Pro Forma built their ‘theatrical event’ but also how it is ‘constructed to generate meaning’. After analysing this staging of Madama Butterfly I will take the discussion to another level. I argue that because of the narrative strategies and their dramaturgical consequences, this staging is not a conventional one. It does not merely play out the ‘dramatic universe’ prescribed by the libretto and music, but rather uses this material and complements it with another, newly created performance – that of the storyteller – while leaving the original opera intact. Because there are now two ‘universes’ – the universe of the original opera, and the universe of the storyteller – there is a possibility for critique and reflection, not only on this specific opera but also when considering opera as an art form on a broader level. This connects to the concept of postopera, which recently found its way into opera studies but has not widely been explored. Jelena Novak coins the term in 2012 in her dissertation on the voice and the body, reflecting upon earlier mentioning of ‘post-opera’ by Jeremy 2 For example, in film: Souriau, Etienne. “La structure de l’univers filmique et le vocabulaire de la filmologie”. Revue internationale de filmologie 7-8, 1951. In theatre: Vanhaesebrouck, Karel. “Towards a Theatrical Narratology?” Image & Narrative 9, 2004. 3 For example: Abbate, Carolyn. Unsung Voices. Opera and musical narrative in the nineteenth century. Princeton University Press, 1991. ; Strykowski, Derek R. "The Diegetic Music of Berg’s Lulu: When Opera and Serialism Collide." Journal of Musicological Research 35.1, 2016. 4 Turner, Cathy, Synne K. Behrndt. Dramaturgy and Performance. New York: Palgrave Macmillan, 2008, 17-19. 5 Versényi in Turner & Behrndt 2008, 18. 6 Tambling and the notion of the ‘post-operatic’ coined by Nicholas Till and Kandis Cook.6 Novak defines postopera in connection to the postdramatic – as defined by Hans-Thies Lehmann7 – and the postmodern. The research on postopera and the postoperatic is mostly concerned with newly written work. In an interview on this subject, Till and designer Kandis Cook state: “…as far as we’re concerned the post-life of opera in contemporary culture is something that’s way more interesting to investigate than most of the works in the repertory.”8 Next to this Jelena Novak states: “the notion of postopera that I plead for does not refer to conventional opera and its contemporary reworkings, but only to unconventional recently created pieces.”9 However, looking at the calendar of the big opera houses in the Netherlands and Belgium, one notices that there are only a few contemporary pieces programmed. This seems to apply to opera houses all over the world. According to the statistics of operabase – an online database keeping track of the events in opera houses all over the world – works by Verdi, Mozart and Puccini are performed the most, by far. Richard Strauss is the first twentieth century composer in the list, at position 10; the highest ranked living composer is Philip Glass at position 41. The forty people before him, as the operabase-website mentions, are all ‘DWEM’s’: Dead White European Males.10 It seems safe to state that the main practice of opera houses is staging repertoire operas. Whether that is good or bad is not a discussion I am concerned with in this thesis, but it seems interesting to look for new possibilities in the common practice of staging the repertoire. In light of this I want to quote musicologist Matthias Rebstock, who mentions that “there is hardly a more urgent question in the field of opera than that of how we can treat the special cultural legacy these repertoire operas represent, and how we can manage to live up to the demand they address to us, namely that we meet them head on.”11 That is why in this thesis, through analysing the staging of Madama Butterfly by Hotel Pro Forma, I will research the possibilities of staging a repertoire piece as postopera, using narrative strategies and thereby opening up the possibility that the staging of a repertoire piece can also be regarded as postopera.
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