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Visual rhetoric in staging: Peter Se...

Williams, James B.,

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Visual rhetoric in staging: Peter Sellars and the Mozart/Da Ponte trilogy /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Visual rhetoric in staging: Peter Sellars and the Mozart/Da Ponte trilogy // James B Williams.
Author:	Williams, James B.,
Description:	1 electronic resource (304 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 61-10, Section: A.
Contained By:	Dissertations Abstracts International61-10A.
Subject:	Theater. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9950992
ISBN:	9780599531871

Visual rhetoric in staging: Peter Sellars and the Mozart/Da Ponte trilogy /
Williams, James B.,

Visual rhetoric in staging: Peter Sellars and the Mozart/Da Ponte trilogy /James B Williams. - 1 electronic resource (304 pages)

Source: Dissertations Abstracts International, Volume: 61-10, Section: A.

In light of the increasing visual rhetoric utilized by stage directors and artists in postmodern performance, the reading and evaluation of visual images has emerged as an integral part of performance analysis. Specifically, visual rhetoric in performance presents through visual imagery the rhetorical intent of the director for an anticipated response from the spectator. Peter Sellars is recognized as a director who stages revisionist interpretations of classic texts predominantly through visual imagery. The visual imagery assembled by Sellars in his stagings of the Mozart/Da Ponte trilogy-Don Giovanni, Le nozze di Figaro , and Cosi fan tutte-incorporate visual references selected for their relevancy to contemporary audiences. Through his selection, style and delivery of visual images, Sellars formulates a visual message, which often emphasizes a specific politically relevant issue and anticipated response. In this artistic process, Sellars utilizes visual rhetoric to embody his interpretation or message in production. This study is intended to contribute to the newly emerging field of visual rhetoric in the realm of performance analysis. Within this dissertation, I examine Sellars's use of visual rhetoric as an interpretive tool for socio-political issues in his stagings of the Mozart/Da Ponte operas. Using a methodology proposed by Sonjia K. Foss and Maria R. Kanengieter for the reading and evaluation of visual images, I explore Sellars' employment of visual rhetoric in each of the Mozart/Da Ponte operas, and evaluate his rhetorical intent in comparison to visual response to his constructed images. Although Sellars's stagings of the Mozart/Da Ponte operas are highlighted, the viability and effectiveness of visual rhetoric within performance analysis remains integral to this study. Dramatic and performance "texts" are increasingly visual in substance as well as written and oral. The ability to examine and process visual text as a key towards production concept and performance evaluation is pivotal in the realm of performance analysis. This dissertation recognizes that no performance is constructed without some sort of rhetorical intent for anticipated response. Within this study, I posit that analysis of visual rhetoric in performance yields further understanding not only of the production in question, but also towards the intent, accomplished or not, of the director-rhetor.

English

ISBN: 9780599531871Subjects--Topical Terms:

522973
Theater.
Subjects--Index Terms:

Austria

Visual rhetoric in staging: Peter Sellars and the Mozart/Da Ponte trilogy /
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520 $a In light of the increasing visual rhetoric utilized by stage directors and artists in postmodern performance, the reading and evaluation of visual images has emerged as an integral part of performance analysis. Specifically, visual rhetoric in performance presents through visual imagery the rhetorical intent of the director for an anticipated response from the spectator. Peter Sellars is recognized as a director who stages revisionist interpretations of classic texts predominantly through visual imagery. The visual imagery assembled by Sellars in his stagings of the Mozart/Da Ponte trilogy-Don Giovanni, Le nozze di Figaro , and Cosi fan tutte-incorporate visual references selected for their relevancy to contemporary audiences. Through his selection, style and delivery of visual images, Sellars formulates a visual message, which often emphasizes a specific politically relevant issue and anticipated response. In this artistic process, Sellars utilizes visual rhetoric to embody his interpretation or message in production. This study is intended to contribute to the newly emerging field of visual rhetoric in the realm of performance analysis. Within this dissertation, I examine Sellars's use of visual rhetoric as an interpretive tool for socio-political issues in his stagings of the Mozart/Da Ponte operas. Using a methodology proposed by Sonjia K. Foss and Maria R. Kanengieter for the reading and evaluation of visual images, I explore Sellars' employment of visual rhetoric in each of the Mozart/Da Ponte operas, and evaluate his rhetorical intent in comparison to visual response to his constructed images. Although Sellars's stagings of the Mozart/Da Ponte operas are highlighted, the viability and effectiveness of visual rhetoric within performance analysis remains integral to this study. Dramatic and performance "texts" are increasingly visual in substance as well as written and oral. The ability to examine and process visual text as a key towards production concept and performance evaluation is pivotal in the realm of performance analysis. This dissertation recognizes that no performance is constructed without some sort of rhetorical intent for anticipated response. Within this study, I posit that analysis of visual rhetoric in performance yields further understanding not only of the production in question, but also towards the intent, accomplished or not, of the director-rhetor.
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653 $a Lorenzo Da Ponte
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