Performing death: Marina Abramović’s 7 Deaths of Maria Callas

Francesco Marzano

doi:10.18778/1505-9057.59.10

Autor

Francesco Marzano Graduate in Modern Philology, Università Cattolica del Sacro Cuore in Milan https://orcid.org/0000-0003-2081-6472

DOI:

https://doi.org/10.18778/1505-9057.59.10

Słowa kluczowe:

performance, opera, Abramović, Callas, śmierć, ikony/ikoniczność, obecność

Abstrakt

Esej analizuje projekt operowy Mariny Abramović pt. 7 Deaths of Maria Callas (7 śmierci Marii Callas). Premiera projektu odbyła się w Monachium we wrześniu 2020 roku. W pierwszej część artykułu rekonstruuję rolę, jaką grecki sopran odegrał w życiu serbskiego wykonawcy, wprowadzając go w stopniowe poczucie samoidentyfikacji. Następnie biorę pod uwagę kolejne etapy trzydziestoletniego rozwoju pierwotnej koncepcji utworu wideo How to Die i opisuję szczegółowo etapową realizację dzieła. W trzeciej części koncentruję się na przedstawieniu śmierci w przedstawieniach Mariny Abramović, a w czwartej porównuję dzieła i życie Callas i Abramović oraz ich status jako status kobiet ikonicznych. W ostatniej sekcji przedstawiam artystyczną drogę Abramović, która prowadziła ją od jej ekstremalnych i kluczowych przedstawień z lat 70. XX w. do ostatnich eksperymentów z innymi mediami i medytacji nad sztuką niematerialną.

Pobrania

Brak dostępnych danych do wyświetlenia.

Biogram autora

Francesco Marzano - Graduate in Modern Philology, Università Cattolica del Sacro Cuore in Milan

Francesco Marzano – is a graduate student of Modern Philology at the Università Cattolica del Sacro Cuore in Milan (Italy). He has written articles about Giovanni Boccaccio and about European performative theatre. He lives in Cologne (Germany), where he works as flutist and as freelance journalist for the Westdeutscher Rundfunk.

Bibliografia

Abramović Marina, 7 Deaths of Maria Callas, photographs by Marco Anelli, Damiani, Bologna 2020.
Google Scholar

Abramović Marina, 7 Deaths of Maria Callas. Programmbuch zur Uraufführung, mit Beiträgen von Abramović Marina, Bronfen Elisabeth, Bachmann Ingeborg, Rieger Eva und Huttenlauch Eva, Bayerische Staatsoper, München 2020.
Google Scholar

Abramović Marina, 7 easy pieces, Charta, Milano 2007.
Google Scholar

Abramović Marina, Anders hören. Die Abramović-Methode für Musik, Alte Oper Frankfurt, Frankfurt 2019.
Google Scholar

Abramović Marina, Artist Body. Performances 1969–1998, Charta, Milano 1998.
Google Scholar

Abramović Marina, Drawings 1963–2017, Henie Onstad, Høvikodden 2018.
Google Scholar

Abramović Marina, Interviews 1976–2018, Abramović LLC, New York 2018.
Google Scholar

Abramović Marina, Public Body. Installations and Objects 1965–2001, Charta, Milano 2001.
Google Scholar

Abramović Marina, Student Body. Workshops 1979–2003. Performances 1993–2003, Charta, Milano 2003.
Google Scholar

Abramović Marina, The Artist Is Present, Museum of Modern Art, New York 2010.
Google Scholar

Abramović Marina, The House With The Ocean View, Charta, Milano 2004.
Google Scholar

Abramović Marina, Writings 1960–2014, Walther König, Köln 2018.
Google Scholar

Abramović Marina (with J. Kaplan), Walk Through Walls. A Memoir, Penguin Books, London 2017.
Google Scholar

Abramović Marina et al., Marina Abramović, essays by Vettese Angela, Di Pietrantonio Giacinto, Daneri Anna, Hegyi Lóránd and Societas Raffaello Sanzio, Charta, Milano 2002.
Google Scholar

Anderson Matthew, The Coronavirus Derails Marina Abramovic’s Maria Callas Opera, “New York Times” 9.04.2020, https://www.nytimes.com/2020/04/09/arts/music/marina-abramovic-maria-callas.html
Google Scholar

Aversano Luca, Pellegrini Jacopo (eds.), Mille e una Callas. Voci e studi, Quodlibet, Macerata 2016.
Google Scholar

Bachmann Ingeborg, Hommage à Maria Callas, [in:] Christine Koschel, Inge von Weidenbaum und Clemens Münster (eds.), Werke, Piper, München 1978, vol. IV (Essays, Reden, Vermischte Schriften, Anhang), pp. 342–343.
Google Scholar

Bernardi Claudio, Cascetta Annamaria, Ci sarà ancora teatro nel mondo che verra?, “Munera” 2020, no. 2, pp. 111–117.
Google Scholar

Brembeck Reinhard J., Die Callas ist tatsächlich auferstanden, “Süddeutsche Zeitung” 2.09.2020, https://www.sueddeutsche.de/kultur/marina-abramovic-maria-callas-nationaltheater-muenchen-1.5018515
Google Scholar

Cascetta Annamaria, European Performative Theatre. The Issues, Problems and Techniques of Crucial Masterpieces, Routledge, New York 2020.
Google Scholar DOI: https://doi.org/10.4324/9780429028304

Cascetta Annamaria (ed.), Il teatro verso la performance, “Comunicazioni sociali” 2014, no. 1.
Google Scholar

Essling Lena (ed.), Marina Abramović – The Cleaner, Hantje Cantz, Berlin 2018.
Google Scholar

Fischer-Lichte Erika, The Transformative Power of Performance. A new aesthetics, trans. by Saskya Iris Jain, Routledge, New York 2008.
Google Scholar DOI: https://doi.org/10.4324/9780203894989

Girst Thomas, Alle Zeit der Welt, Hanser, München 2019.
Google Scholar

Guccini Gerardo, Maria Callas: attrice del Novecento, “Acting Archives Review” 2019, vol. 9, no. 17, pp. 1–47.
Google Scholar

Gusman Tancredi, Ciò che resta della presenza: Marina Abramović tra unicità e ripetizione, [in:] Roberta Carpani, Laura Peja and Laura Aimo (eds.), Scena madre. Donne personaggi e interpreti della realtà. Studi per Annamaria Cascetta, Vita e Pensiero, Milano 2014.
Google Scholar

Heyward Anna, Die Verletzliche, “Max Joseph. Das Magazin der Bayerischen Staatsoper” 2019/20, no. 3 (“Loslassen”), pp. 26–31.
Google Scholar

Jones Amelia, “The Artist is Present”. Artistic Re-enactments and the Impossibility of Presence, “The Drama Review” 2011, vol. 55, no. 1, pp. 17–45.
Google Scholar DOI: https://doi.org/10.1162/DRAM_a_00046

Lehmann Hans-Thies, Tragedy and Dramatic Theatre, trans. by Erik Butler, Routledge, New York 2016.
Google Scholar DOI: https://doi.org/10.4324/9781315640198

Mann Thomas, Confessions of Felix Krull, confidence man, trans. by Denver Lindley, Vintage International, New York 1992.
Google Scholar

Maria Callas alla Scala. Mostra Documentaria a vent’anni dalla scomparsa, Teatro alla Scala, Milano 1997.
Google Scholar

Montale Eugenio, Auto da fé. Cronache in due tempi, Arnoldo Mondadori Editore, Milano 1995.
Google Scholar

Montale Eugenio, Prime alla Scala, Arnoldo Mondadori, Milano 1981.
Google Scholar

Müller-Schöll Nikolaus, Die post-performative Wende, “Theater heute” 2012, no. 12, pp. 42–45.
Google Scholar

Pasolini Pier Paolo, The Selected Poetry of Pier Paolo Pasolini. A bilingual Edition, ed. and trans. by Stephen Sartarelli with a foreword by James Ivory, University of Chicago Press, Chicago and London 2014.
Google Scholar DOI: https://doi.org/10.7208/chicago/9780226121161.001.0001

Pathmanathan R. Sri, Death in Greek Tragedy, “Greece & Rome” 1965, vol. 12, no. 1, pp. 2–14.
Google Scholar DOI: https://doi.org/10.1017/S0017383500014704

Richards Mary, Marina Abramović, Routledge, New York 2010.
Google Scholar

Rossi Francesco, Variazioni poetiche di modelli evolutivi. Thomas Mann e l’Homo aestheticus, “Prospero” 2014, vol. 19, pp. 121–142.
Google Scholar

Spallino Valeria, Marina Abramović. Il paradosso dell’assenza. Performance 1967–2017, Villaggio Maori, Catania 2018.
Google Scholar

Thornton Sarah, 33 Artists in 3 Acts, W.W. Norton & Company, New York 2014.
Google Scholar

Westcott James, When Marina Abramović dies. A Biography, Massachusetts Institute of Technology, Cambridge 2010.
Google Scholar