A concepção cênica para a mini-ópera Domitila de J. G. Ripper: uma proposta de performance baseada nos princípios desenvolvidos por C. Stanislavski nos estúdios de ópera

Abstract

On this project, it was developed a performance conception process for the J. G. Ripper´s mini-opera Domitila, with the focus on the scenic development for the singer. This procedure was grounded theoretically and methodologically based on the application of some concepts developed by the actor and director C. Stanislavski (1863-1938) on his active analysis and physical actions method. It was a research object as well as methodological tool, the director´s relation with the genre opera, considering since his biographical aspects, to his activities at the opera studios in Russia (1918-1938), his lectures (1918-1922) and many opera productions presented during his last twenty years of life. Since this project deals with a monologue opera and due to its formal characteristics, in its interpretative process, as a grounding source it was associated the M. Bakhtin (1895-1975) principles related to the dialogism and to the indirect discourse. This association was beneficial and contributed as a text-music interpretation freeing tool, allowing the performer a multi-polarized view of the many meaning sources of the play, offering no longer a monological but a multi-discursive interpretation. The understanding and the access to examples of Stanislavski´s scenic direction for opera and the way he considered creation on a scenic-musical context was one of the goals. A parallel between Domitila with two semantically similar opera scenes such as Tatiana´s letter writing scene from Eugene Onegin by P. I. Tchaikovsky (1849-1893), and Charlotte´s letters reading scene from Werther by J. Massenet (1842-1912), both directed by Stanislavski in his opera studios in Russia was made. From Stanislavski´s system, some elements were chosen and applied according to the development of the mini-opera´s scenic preparation and performance conception practical work considering those which best suited the projects esthetical profile. These elements were presented in the methodology, applied and described scene by scene on Domitila´s performance creative process conception, leading to the final setting performed at the end of this project in a public recital. The methodology has proven effective as an organizer, as a facilitator of scenic creation, as a promoting tool for interpretative connections between text and music, essential aspects for the work with opera performance conception.