Abstract
The article discusses selected some musical concept by Maurcio Kagel (1931–2008), one of the most significant Argentinian composer. The analysis concerns two issues related to Kagel’s work. First of all, the composer’s approach to musical theatre as an artistic tool for demolishing a wall put in cultural tradition between a performer and a musical work – just like Berlin Wall which turned the politics paradigm in order to melt two political positions into one. Kagel’s negation of the structure’s coherence in traditional musical canon became the basis of his conceptualization which implies a collapse within the wall between the musical instrument and the performer. Aforementioned performer doesn’t remain in the passive role, but is engaged in the art with his whole body as authentic, vivid instrument. Secondly, this article concerns the actual threads of Kagel’s music, as he was interested in enclosing in his work contemporary social and political issues. As the context of the analyze the authors used the ideas of Paulo Freire (with his concept of the pedagogy of freedom) and Augusto Boal (with his concept of “Theater of the Oppressed”). Both these perspectives aim to present Kagel as multifaceted composer who through his avantgarde approach abolishes canons (walls) in contemporary music and at the same time points out the barriers and limitations of the global reality. Moreover, Kagel’s pieces built bridges between the South American and European musical paradigms.
Highlights
As the context of the analyze the authors used the ideas of Paulo Freire and Augusto Boal
In his work on the subject of Mauricio Kagel (1931–2008) Björn Heile notes that it is extremely difficult to capture the phenomenon of this multifaced author
In this article we aim to present only one of the many faces of this highly original artist
Summary
In his work on the subject of Mauricio Kagel (1931–2008) Björn Heile notes that it is extremely difficult to capture the phenomenon of this multifaced author. One of them is Paulo Freire, Brazilian pedagogical researcher, representative of radical emancipation pedagogy, and the second one is Augusto Boal, Brazilian director, playwright, theater activist, educator, as well as inventor of the idea of Theater of the Oppressed (TO) In this way, we want to understand Kagel’s vision as a manifesto of his perception of the human individual, and of social and political reality and their mutual difficult relationships. Sur Scene and Sonant, both pieces from 1960, can be considered as the examples of two opposite perspectives of Kagel’s approach These two perspectives Paul Craenen describes respectively as: “musical performance [...] presented from the outset as if it were a performance of music in a theatre play”; and “exposing the musical action as theatre” (Craenen 2014, 55).
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