Abstract
The article presents an analysis of the features of Ligeti’s opera Le Grand Macabre, indicating that it belongs to the camp aesthetics. The starting point for the analysis is the features of this aesthetic/sensitivity described by Susan Sonntag in her Notes on Camp. The opera’s libretto, its theatrical and musical layers, as well as Ligeti’s personal life experience as a composer – important for camp – are the subject of the analysis. Keywords: Camp, opera, Ligeti, Sonntag, postmodernism
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