000			01384cam a2200157 4500500
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100	1	0	_aPouradier, Maud _eauthor
245	0	0	_aThe conflict of norms in opera
260			_c2022.
500			_a67
520			_aOpera was born under the aegis of two competing ideals: the ideal of Greek music and the ideal of Greek tragedy. This initial ambiguity leads to frequent normative conflicts on the theoretical, artistic, and aesthetic levels. Staging a work of fictional and theatrical art is not the same thing as staging an analogical storytelling based on a work of music. Evaluative criteria about a good vocal interpretation are also in conflict: Do we have to prioritize musical criteria, or are some musical flaws acceptable in the name of theatrical interpretation? The aesthetic experience of an opera is often in a fragile position within the hierarchy of the sensorial registers, particularly between the visual and sonic registers. On a more theoretical level, there is the problem of the status of singing in opera: Is it just a part of the musical medium, or does it have a fictional function?
786	0		_nNouvelle revue d’esthétique | o 29 | 1 | 2022-05-31 | p. 117-126 | 2264-2595
856	4	1	_uhttps://shs.cairn.info/journal-nouvelle-revue-d-esthetique-2022-1-page-117?lang=en&redirect-ssocas=7080
999			_c524553 _d524553