The Role of Television in the Development of the Genre of Opera: the Opera in the Format of a Talk Show
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Abstract
At the center of the author is the unique composition in its own right by American composer Michael [Mikel] Rouse presenting a synthesis of opera and talk show. Since the composer belongs to the trend in American music of the 1990s, called “Totalism,” the article contains its brief characterization. The basis of this aesthetics is comprised by the fusion of mass and elite music, which explains such an unusual mixture of genres. A brief characterization is provided for the peculiarities of Mikel Rouse, and a brief overview of the basic scenes and the musical thematic material od his opera “Dennis Cleveland” is given. Preserving the key attributes of the opera performance, the composer reformats its structure following the laws of talk show, organizing the artistic space in such a way so that there would be no boundaries between the actors on stage and the audience hall. The special nature of the talk show – its dynamic qualities, interactivity, and suggestive qualities inherent to television became for rouse a reason for a complete destruction of the “fourth wall” in the conditions of such a canonized genre which opera presented itself to be. The theatrical-decorative aspect of theatrical performance, as is its structure, are subservient to the laws of talk show. The decorations are
permeated with advertising symbolism, logos; the video-monitors, screens and bright illumination create the effect
of a television studio. While extolling pop culture, in reality Rouse exposes the emptiness of its inner content. The
publication has been prepared as part of project № 17-04-00198-OGN supported by the Russian Foundation for Basic
Research.
Keywords: opera, totalism, Mikel Rouse, talk show, digital TV technologies in the art of music.
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