Contemporary theatre sound in The Balkans: A synchronous approach to Molière ’s “Imaginary Invalid”

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ntext in which McClary does a thorough analysis on the ways women’s music has developed throughout the centuries, as well as the implicit self-censorship that often occurs in the creative process of composing made me re-question my approach towards these particular pieces.


“There are many fine musicological studies that analyse the devices used to heighten the texts of characters — male and female—in early music drama. But most do not differentiate according to gender or consider portrayals up against the contemporary social apparatus that would tend to privilege male utterances and to silence women. However, even a cursory survey of the ways the issues of gender, speech, and power intersect in early opera raises many questions about the politics of representation in the early seventeenth century. For despite the fact that aristocratic patrons had extensive control over the subject matter of their entertainments, the works themselves often appear —at least at first glance—to undercut assumed social hierarchies and call into question the authority of patriarchy and nobility. The remainder of this essay examines the ways Monteverdi deals with the rhetorical options available to male and female characters in his operas.”[3]


In Opus 2, there is a slight interlacing of a certain ethnic element that is unquestionably known to anyone living in The Balkans region, almost trying to get into the key of 7/8, but never truly readapting to it and staying in the same key until the gentle fading out of the sound and the diminishing of the volume. The sound of a whale abruptly appearing out of the water is just an added element that succeeds in the conception of a dreading feeling of nostalgia, of yearning for a time long gone that goes hand by hand with the feeling of helplessness that must be faced by the main characters. The repetition of the scale creates a melody that quietly emerges and creates a longing atmosphere – the theatre stage is slowly transforming the dynamics into mezzo-piano, steadily developing in reciprocity with the progress on the stage where only physical movement is present, slightly raising the crescendo in order to get to the culmination of this gentle, sentimental way of storytelling. In order to achieve this certain feeling of longing, and in accordance with the dynamics, this piece is played while the actors are slowly moving, but are not able to speak – their movement is limited to light and abrupt positioning of their bodies on the floor.

On the other hand, Opus 3 has a certain ambiguous vibe to it that leaves the spectator wondering about the transcendence of the play con

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