Publications
Aesthetic Historicity
Aesthetic historicity emerges as a groundbreaking theoretical framework that bridges past and present, integrating artistic, intellectual, and societal impulses across eras. This model, developed through practical experiences at the Drottningholm theatre workshop, offers a multifaceted approach—serving as both a theory and a method to analyze historical artefacts and their contemporary reception. Drawing on arguments from Arendt, Postlewait, Derrida, Wiles, Jameson, and Brecht, it provides analytical tools that transcend disciplinary boundaries, enriching our understanding of historical narratives in performance and culture.
From the General to the Specific: The Musical Director’s Perspective
Conducting, pianism, and harpsichordist Mark Tatlow highlights the pivotal role of communicative musical performance in early music and historically informed practices, emphasizing close attention to libretto or sung poetry as a cornerstone for vocal interpretation. His insights, drawn from decades of work within the Performing Premodernity project—particularly at Drottningholm Palace Theatre—underscore how precision in textual understanding enhances artistic expression. This perspective bridges historical performance techniques with modern interpretive approaches, offering a nuanced framework for operatic and musical authenticity.
Performing the Eighteenth Century: Theatrical Discourses, Practices, and Artefacts
Research on the Royal Domain of Drottningholm's eighteenth-century theatre reveals that modern performances of historical works, particularly those adopting historically informed practices, can deepen our understanding of past theatrical and musical traditions. The study, 'Performing Premodernity,' challenges antiquarian approaches by integrating academic research with practical experimentation in authentic historic settings. Through investigations into lighting, costumes, stage movement, and vocal practices, the project reinterprets eighteenth-century performance dynamics, highlighting its innovative and revolutionary nature during the late Enlightenment. A notable outcome was the production of Rousseau's 'Pygmalion,' which premiered at Český Krumlov Castle Theatre in 2015, demonstrating how modern interpretations can both preserve historical authenticity and explore the utopian dimensions of period works.
Swimming in the Water of Theatrical Conventions: The Performers’ Perspective
Performers' insights into eighteenth-century theatrical conventions reveal the nuanced challenges and rewards of interpreting melodrama and historical texts. João Luís Paixão and Laila Cathleen Neuman, participants in the Performing Premodernity project, shared their experiences performing Jean-Jacques Rousseau's Pygmalion at the Drottningholm Palace Theatre and other historic sites, including Český Krumlov. Their reflections highlight how engaging with premodern theatrical practices—such as those of the Enlightenment era—demands a deep immersion in both scenic interpretation and the historical context of acting. The study underscores the value of performer-led research in uncovering the complexities of early modern performance traditions, offering new perspectives on the evolution of melodrama and its conventions.
Digital Enchantment of Drottningholm
A counter-factual digital experience at the UNESCO World Heritage Site of Drottningholm, Sweden, demonstrates how historical figures from the 18th century can be integrated into a living portrayal of past court life. While technically feasible, this project raises critical questions about broadening social perspectives—such as class, gender, and ethnicity—and the artistic choices needed to visualize activities in the palace and park. It also explores which forms of digital interaction best engage diverse visitor groups. The study suggests that while such an approach may offer poetic pleasures, bridging the historical gap remains a theoretical challenge, leaving unanswered whether Hans-Georg Gadamer's concept of 'fusion of horizons' can be achieved in practice.
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