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A ópera do futuro - a obra de arte na era da electricidade estética
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Quer do ponto de vista da criação convencional, quer do ponto de vista da
criação tecno-artística, muito já mudou no que diz respeito genericamente ao
espectáculo, em particular em relação ao drama, ou ao teatro e à «velha» ópera.
Projectos de uma ópera do futuro, não só já existem, como já estão a ser realizados.
Dado, portanto, que não se trata mais de uma ficção artístico-científica, há que pensar
estes acontecimentos tentando encontrar uma visão antecipada das suas condições de
produção e criação.
Num momento assim serão inevitáveis os balanços e inevitáveis serão também
visões sobre o presente que procuram a todo o custo confirmar nos seus sinais as
antecipações de um futuro, ao mesmo tempo renascimento de uma esperança e vórtice
no qual se precipitam os medos de todos os fins. Depois de a arte ter vivido uma
verdadeira pulsão necrológica, anunciando repetidas vezes a sua própria morte e
antecipando o seu próprio fim, eis que a questão parece surgir de novo, no momento em
que as tecnologias digitais começam a interessar aos artistas e desse interesse começam
a surgir obras - que, dadas as suas configurações necessariamente diferentes, voltam a
levantar a questão de saber o que é e o que não é arte, desta vez não pela estranheza da
estética perante atitudes desviantes e inovadoras dos artistas, mas pela alteração da
natureza dos próprios artistas (aparentemente engenheiros-artistas), e pela natureza da
própria técnica (que é uma tecnologia); ou seja, pela própria e mais radical questionação
da natureza da autonomia da arte como campo que parece dissolver-se no da técnica.
Whether from the point of view of conventional creation or from the point of view of techno-artistic creation, much has already changed with regard to the spectacle in general, in particular in relation to drama, or theater and the “old” opera. Projects for an opera of the future not only already exist but are already being implemented. Given, therefore, that this is no longer an artistic-scientific fiction, it is necessary to think about these events trying to find an anticipated vision of their production and creation conditions. Both assessments and visions about the present will be inevitable, seeking at all costs to confirm in their signs the anticipations of a future, at the same time the rebirth of hope and a vortex where fears of all ends are precipitated. After art has experienced a true necrological impulse, repeatedly announcing its own death and anticipating its own end, the question seems to arise again, at the moment when digital technologies begin to interest artists and this interest begins works to emerge - which, given their necessarily different configurations, once again urges the question of knowing what is and is not art, this time not because of the strangeness of aesthetics in the face of artists' deviant and innovative attitudes, but because of the alteration of the nature of the artists themselves (apparently artist-engineers), and by the nature of the technique itself (which is a technology); in other words, by the most radical questioning of the nature of the autonomy of art as a field that seems to dissolve into that of technique.
Whether from the point of view of conventional creation or from the point of view of techno-artistic creation, much has already changed with regard to the spectacle in general, in particular in relation to drama, or theater and the “old” opera. Projects for an opera of the future not only already exist but are already being implemented. Given, therefore, that this is no longer an artistic-scientific fiction, it is necessary to think about these events trying to find an anticipated vision of their production and creation conditions. Both assessments and visions about the present will be inevitable, seeking at all costs to confirm in their signs the anticipations of a future, at the same time the rebirth of hope and a vortex where fears of all ends are precipitated. After art has experienced a true necrological impulse, repeatedly announcing its own death and anticipating its own end, the question seems to arise again, at the moment when digital technologies begin to interest artists and this interest begins works to emerge - which, given their necessarily different configurations, once again urges the question of knowing what is and is not art, this time not because of the strangeness of aesthetics in the face of artists' deviant and innovative attitudes, but because of the alteration of the nature of the artists themselves (apparently artist-engineers), and by the nature of the technique itself (which is a technology); in other words, by the most radical questioning of the nature of the autonomy of art as a field that seems to dissolve into that of technique.
Descrição
Palavras-chave
Nova ópera Novas tecnologias Música Drama ópera Teoria da cultura Electricidade estética Music Opera Culture theory Aesthetic electricity