Levin argues that scholarship has been loath to take on operatic mise-en-scene, but we might say that the aversion in opera studies to operatic stage performance is embedded in the conventions of the form. What are the conventions of these two forms--that is, glam rock and opera? In particular, what are we asked to forget or not notice as consumers of these spectacles?
First responders, we recognize it's a lot to read in a few hours, but please post your response by noon on Wednesday. If that means you focus on one reading over the other, that's fine.
Second responders, please post your comments by midnight Wednesday.
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