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20. Yüzyilda Opera; 20 YILDIZ TEKNİK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ 20. YÜZYILDA OPERA; 20. YÜZYIL MODERNİZMİNİN OPERAYA ETKİLERİ ve MODERNİST / POSTMODERNİST ESTETİK BAĞLAMINDA OPERA Arş. Gör. Zeynep Gülçin Özkişi SBE Sanat ve Tasarım Ana Sanat Dalı Sanat ve Tasarım Programında Hazırlanan YÜKSEK LİSANS TEZİ Tez Danışmanı: Prof. Rûhî AYANGİL İSTANBUL, 2007 İÇİNDEKİLER Sayfa ÖNSÖZ….........................................................................................................................iv ÖZET…………………………………….........................................................................v ABSTRACT…………………………………………………………………………….vi 1. GİRİŞ…………………………………….………………………………1 2. 20. YÜZYILDA OPERA…………………….…………………………..4 2.1 Almanya ve Avusturya…………………………………………………...9 2.1.1 Ernst Krenek…………………………………………………………....11 2.1.2 Franz Schreker…………………………………………………….........13 2.1.3 Erich Wolfgang Korngold………………………………………………14 2.1.4 Alexander von Zemlinsky…………………………………....................14 2.1.5 Richard Strauss……………………………………………....................15 2.1.6 Zeitoper…………………………………………………………………17 2.1.7 Nazi Almanyası (1933 – 1945)………………………………………...22 2.1.8 1945 Sonrası Almanya………………………………………………….24 2.2 Fransa…………………………………………………………………...28 2.2.1 Paul Dukas……………………………………………………………...29 2.2.2 Gabriel Faure……………………………………………………………30 2.2.3 Mauricio Ravel………………………………………………………….31 2.2.4 Igor Stravinsky………………………………………………………….32 2.2.5 Henri Rabaud…………………………………………………………...34 2.2.6 Albert Roussel…………………………………………………………..35 2.2.7 Darius Milhaud……………………........................................................35 2.2.8 Arthur Honneger………………………………………………………..37 2.2.9 Francis Poulenc........................................................................................39 2.2.10 1930’lardan İtibaren Diğer Fransız Operaları…………………..............40 2.2.11 Paris 1940–1944…………………………………………………….......41 2.2.12 1944 Sonrası Fransız Operası…………………………………………..42 2.3. İngiltere…………………………………………………………………45 2.3.1 Frederich Delius ……………………………………………………..…45 2.3.2 Gustav Holst…………………………………….....................................46 2.3.3 Vaughan Williams………………………………………………………47 2.3.4 Glastonbury Festivali …………………………………………………..48 2.3.5 Benjamin Britten......................................................................................48 2.3.6 Michael Tippett........................................................................................51 2.4 Amerika…................................................................................................53 2.4.1 Amerika, 1920’ler....................................................................................55 2.4.2 Igor Stravinsky.........................................................................................58 2.4.3 Opera Temsilleri......................................................................................60 2.4.4 Operada Yeni Yönelimler……………………………………...……….63 2.5 Doğu Avrupa……………………………………………………………66 2.5.1 Çekoslovakya…………………………………………………………...67 2.5.2 Macaristan………………………………………………………………75 i 2.5.3 Polonya…………………………………………………………………78 2.5.4 Romanya………………………………………………………………..80 2.5.5 Türkiye………………………………………………………………….81 2.6 Rus Operası……………………………………………………………..87 2.6.1 Shostakovich ve Lady Macbeth of Mtsensk…………………………….88 2.6.2 Prokofiev ve The Fiery Angel…………………………………………..92 2.6.3 War and Peace………………………………………………………….95 2.6.4 Sosyalist Realizm Sonrası………………………………………………98 3 20. YÜZYIL MODERNİZMİ VE MODERNİST ESTETİK BAĞLAMINDA SANATIN, FRANKFURT OKULU VE THEODOR ADORNO MERKEZLİ İNCELENMESİ……………….101 3.1 Modernizm ve Sanat…………………………………………………..101 3.2 Frankfurt Okulu ve T. Adorno Bağlamında Modernizm ve Modernist Sanat…………………………………………………….105 4 20. YÜZYIL MODERNİZMİNİN, MÜZİK VE OPERA BAĞLAMINDA İNCELENMESİ ……………………..……………..111 4.1 Ekspresyonizm, Müzik ve Opera İlişkisi……………………………...115 5 MODERNİST ESTETİK BAĞLAMINDA OPERA VE MODERNİST OPERALAR………………………………………124 5.1 Modernist Operaların Genel Özellikleri………………………………125 5.1.1 Operaların Modernist Bağlamda İncelenme Yöntemleri……………..127 5.2 Modernist Estetik Bağlamında İncelenecek Operalar………………...128 5.2.1 Alban Berg, Wozzeck (1925)…………………………………………128 5.2.2 Alban Berg, Lulu (1937)………………………………………………143 5.2.3 Arnold Schoenberg, Erwartung (1909)………………………………..149 5.2.4 Vselovod Meyerhold ve Rus Modernist Operası……………………...155 5.2.4.1 Sergey Prokofiev ve The Love for Three Oranges (1919)…………….156 5.2.4.2 Dmitri Shostakovich ve The Nose (1928)……………………………..158 5.2.5 Claude Debussy ve Pelléas et Mélisande (1902)……………………...161 5.2.6 Kurt Weill ve Die Dreigroschenoper (1928) ………………………….167 5.2.7 Richard Strauss, Salome ve Elektra…………………………………...171 5.2.7.1 Richard Strauss, Salome (1905)……………………………………….172 5.2.7.2 Richard Strauss, Elektra (1908)……………………………………….175 6 1950 SONRASI OPERADA YENİ YÖNELİMLER, 1950–1980……………………………………………………………..179 6.1 Müzik Tiyatrosu ve Gelişimi………………………………………….179 6.1.1 Mauricio Kagel ve Anti-Opera………………………………………..184 6.2 Enstrümantal Tiyatro………………………………………………….185 6. 3 Kayıt, Televizyon ve Video Operası………………………………….189 6.3.1 Televizyon Operası……………………………………………………191 6.3.1.1 Televizyon Operasının Tarihsel Arka Planı…………………………...192 6.3.1.2 1970’den İtibaren Televizyon Operaları………………………………195 ii 6.3.1.3 Robert Ashley ve 1980 Sonrası Televizyon Operası ………………….198 6.3.2 Video Opera…………………………………………………………...201 7 1980 SONRASI OPERA VE MODERNİZM………………………...203 7.1 1980 Sonrası Modernist Operalar……………………………………..205 7.1.1 Hans Werner Henze…………………………………………………...206 7.1.2 Luciano Berio………………………………………………………….208 7.1.3 Friedrich Cerha……………………………………………………......209 7.1.4 Luigi Nono…………………………………………………………….210 7.1.5 Krzysztof Penderecki …………………………………………………212 7.1.6 Aribert Reimann……………………………………………………….213 7.1.7 Alfred Schnittke……………………………………………………….213 7.1.8 Karlheinz Stockhausen………………………………………………...214 7.1.9 Udo Zimmermann……………………………………………………..217 7.1.10 John Cage……………………………………………………………...218 7.1.11 Harrison Birtwistle…………………………………………………….220 7.2 Operada Irk ve Cinsiyete Bağlı Modernist Tavır……………………...220 7.2.1 Kadın Opera Bestecileri ve Feminist Operalar………………………..223 8 1980 SONRASI OPERANIN POSTMODERNİZMLE İLİŞKİSİ VE POSTMODERN ESTETİK BAĞLAMINDA OPERA…………...230 8.1 1980 Sonrası Operanın Postmodernizmle İlişkisi……………………..231 8.2 1980 Sonrası Opera, Popüler ve Akademik Kültür İlişkisi……………233 8.3 1980 Sonrası Modernist Opera Karşıtı Operalar: Anti-Anti-Opera = Opera……………………………………………...237 8.3.1 György Ligeti………………………………………………………….237 8.3.2 Olivier Messiaen………………………………………………………239 8.4 Postmodernizme Öncülük Eden Bölge Olarak Amerika ve Amerikan Müzik Geleneği Bağlamında Opera………………........242 8.4.1 Amerikan Müzikalleri ve Operaya Etkileri……………………………242 8.4.2 Amerika Müzik Geleneği, Postmodernizm, Minimalizm ve Opera İlişkisi……………………………………………………….244 8.4.2.1 Minimalist Operalar…………………………………………………...246 8.4.2.1.1 Philip Glass……………………………………………………………248 8.4.2.1.2 Steve Reich……………………………………………………………251 8.4.2.1.3 John Adams……………………………………………………………253 9 SONUÇ………………………………………………………….…….255 KAYNAKLAR……………………………………………………………………..…260 EKLER………………………………………………………………………………..275 EK 1 20. YÜZYIL OPERALARI VE İLK TEMSİLLERİ………………….276 ÖZGEÇMİŞ…………………………………………………………………………...304 iii ÖNSÖZ Çalışmada, 20. yüzyılda operanın genel durumu, ülkeler bazında ele alınmış; ardından modernizmin genel nitelikleri, sanata ve özelde müzik ve operaya etkileri, özellikle Frankfurt Okulu ve Theodor Adorno’nun görüşleri bağlamında açıklanarak, opera ve modernizm ilişkisi, 1900–1950 yılları arasında yazılmış operalar üzerinde incelenmiştir. Hem 20. yüzyıl öncesi, özellikle de 19. yüzyıl Romantik opera geleneğine, hem 20. yüzyıl operasının modernist yaklaşımlarına rastlanabilmesi nedeniyle, opera ve modernizm, 20. yüzyılın ilk yarısına ait operalar üzerinden incelenmiştir. 20. yüzyılın ikinci yarısında üretilen operalar ve yeni yönelimleri ve 1980’lerden itibaren operada etkilerini gösteren postmodernizm ve operaya etkileri belirtilmiş ve örnekler üzerinde açıklanmıştır. Operaya modernizm çerçevesinden bakmak, 20. yüzyıl operalarının toplumsal, siyasal ve kültürel bağlamları içerisinde, tüm gönderme ve alt metinlerinin doğru biçimde okunmasını sağlayacaktır. Böylece, operayla ilgili tartışmaları tekrar canlandırmak ve operanın 19. yüzyılın ardından sona erdiği fikrini değiştirmek mümkün olabileceği düşünülmektedir. Öncelikle, tez yürütücüm ve akademik hayata katılmamı sağlayan değerli hocam, Sn. Prof. Rûhî Ayangil’e, tüm yardımları ve desteği için teşekkür ederim. Tezimin başlangıcından itibaren, tasarım, gelişim ve tamamlanma süreçlerinin tümünde büyük emeği olan Sn. Doç. Dr. Güven İncirlioğlu ve Sn. Necmi Zeka’ya; özellikle müzik merkezli yapıt analizlerindeki önemli yardımlarından dolayı Sn. Emre Dündar’a; tezimi farklı medyalar üzerinde sunabilme becerisini geliştirmemdeki katkılarından ötürü Sn. Yrd. Doç. İnci Eviner’e; akademik ve müzikal yönelimlerimde önemli bir role sahip olan çok sevgili dostum Sn. Bora Keskiner’e; tez boyunca yardımlarını esirgemeyen Sn. Yrd. Doç. Dr. Emine Önel Kurt, Sn. Arş. Gör. Metin Çavuş ve Sn. Yrd. Doç. Mehmet Nemutlu’ya; kaynak desteğinden ötürü, Borusan Müzik Kütüphanesi ve bu kütüphanenin müdîresi, Sn. Teri Sisa’ya ve sevgili Çiğdem Yüce’ye; MİAM Müzik Kütüphanesi ve bu kütüphaneden faydalanmamı sağlayan Sn. Ebru Ayata’ya; film analizi ve alt metin okumaları konusundaki birikimimi büyük ölçüde borçlu olduğum Sn. Uğur Kutay’a, büyük yardım ve özenlerinden ötürü YTÜ Rektörü Sn. Prof. Dr. Durul Ören ve sevgili hocam Sn. Hakan Karataş’a; ses çalışmalarımda ve opera kültürüne yaklaşımımda bana
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