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Abstract
Cinema’s pervasive influence on opera and—in a much broader sense—“musical theatre” of the 1920s is consequence of a true medial competition. The works that can be ascribed to the Zeitoper genre experimented with a wide range of cross-medial pollinations between old and new languages. Cinema can be incorporated as a component of the show; or it can be referenced intermedially by simulating some of its distinctive techniques, such as montage, reverse projection, motoric illustration, and so forth. In other instances, the use of the cinematic medium forms a separate theatrical number. In Kurt Weill’s Royal Palace, for example, a film sequence (Filmmusik) narrates the incredible tour of Dejanira and her husband from Nice to Constantinople up to the North Pole. On the whole, the Filmmusik consists of nine short sections, each having a different timbre and a highly contrasting musical shape. The solution of continuity of musical discourse can be regarded, in and of itself, as an intermedial reference to the visual structure determined by the montage.
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