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

5.00   (45 гласа)
in all spheres of existing and coexisting - mainly focusing on performative arts with all of its entwined categories, and more specifically contemporary composition and applied musicology, shows that a lot of discrepancies had been thoroughly sheltered throughout the years. The ongoing practice of exclusion in performative arts has had a severe impact on cultural production in its entirety, continuously transforming the cultural environment, but only up to a point that has somehow never managed to reach the margin of exclusivity created by the concept of gender identity. Even in today’s modern society, a vast number of social spheres are mainly occupied by hierarchical values, ignoring the principles of equality which are still not considered as an incentive. By exploring the past, one can only learn about things known to humanity solely from a man’s aspect, and merely from a woman, considering the continuous prohibited spaces where women were not, and still are not (fully) allowed in. The assessment of the so-called term “territorialization” which is present in Deleuze and Guattari’s philosophical approach that later leads to their definition of “deterritorialization”, or more specifically, their way of using this word in the context of common cultural practices in the past can be considered as one of the main motives.

 

   “This materialization of the nineteenth-century tendency to catalogue, taxonomize and hierarchize cultural production finds expression all over Europe and beyond. From the Ruhmeshalle in Munich to the Befreiungshalle in Kelheim, the Secession Building in Vienna, the Panthéon in Paris and the Panteón Nacional in Caracas, Venezuela, these great pantheons explicitly demonstrate that every nation collects its male heroes under the rubric of originality, creativity and virility. These buildings represent what Gilles Deleuze and Félix Guattari would term a ‘territorialization’, that is, a disciplining, circumscribing and enclosing of cultural practice, from which women, until very recently, have been consistently excluded.”[2]

 

Another motive for the creation of a distinctive soundtrack for a new adaptation of a theatre play that the Balkan public is quite familiar with was the urge for a new approach towards classical theatre in today’s society, noticing the major fluctuations that are unceasingly stirring because of COVID-19, associating sound with absence, monotony and nostalgia. Unlike most of the musical pieces for classical theatre in the region, this one does not follow the rules of the post-soc music school of thought, especially in the Macedonian and Bulgarian region. Susan McClary’s book on gender and music in a historical co

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