A dramaturgia musical de O Ouro do Reno, de Richard Wagner
Palavras-chave:
Dramaturgia musical, Richard Wagner, O Ouro do Reno, O Anel do NibelungoResumo
Neste artigo apresento uma análise preliminar dos procedimentos dramatúrgicos que organizam O Ouro do Reno, a primeira peça do ciclo O Anel do Nibelungo, de Richard Wagner. Para tanto, são estudadas: 1- a macroestrutura da obra; 2- as rubricas; 3- dados a partir da partitura orquestral. Em conjunto com essas informações, estabelece-se um diálogo com a recepção crítica, de modo a se integrar conceitos operacionais de dramaturgia com tópicos da bibliografia em torno de Richard Wagner.
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ASTON, Elaine & SAVONA, George. Theatre as Sign System: A Semiotics of Text and Performance. Londres: Routledge, 2013.
BACHELARD, Gaston. La terre et les rêveries du repos. Paris: Corti, 1948.
BAKER, David & MÜLLENSIEFEN, David. Perception of Leitmotives in Richard Wagner's Der Ring des Nibelungen. Frontiers in Psychology 8, 1-8, 2017.
BAKHTIN, Mikhail. Cultura Popular na Idade Média: o contexto de François Rabelais. São Paulo: Hucitec, 2010.
BARBA,Eugenio & SAVARESE, Nicola. A Arte Secreta do Ator. Dicionário de Antropologia Teatral. Campinas/São Paulo: Editora Unicamp/Editora Hucitec, 1995
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BRIBITZER-STULL ,Matthew. Echoes of Alberich‘s Anguish: Compositional Unity, Analytic Plurality, and Wagner‘s Das Rheingold. Journal of Schenkerian Studies, 3,p. 59-91,2008.
BRIBITZER-STULL ,Matthew. Understanding the Leitmotif.From Wagner to Hollywood Film Music. Cambridge: Cambridge University Press, 2015.
BRIBITZER-STULL, Matthew. Naming Wagner’s Themes. In: Matthew Bribitzer-Stull; Lubet A.; Wagner G. (Orgs.) Richard Wagner for the New Millennium. Studies in European Culture and History. Palgrave Macmillan, New York, p.91-110, 2007.
BROWN, Hilda Meldrum. The Quest for the Gesamtkunstwerk and Richard Wagner. Oxford: Oxford University Press, 2016.
BULLER, Jeffrey. The Thematic Role of Stabreim in Richard Wagner's
Der Ring des Nibelungen. The Opera Quarterly 11,4,p.59–93,1995.
BULLER,Jeffrey. Classically Romantic.C lassical Form and Meaning in Wagner'Ring. Philadelphia:XLibris,2001.
CARR, Bernard(Org.) Universe or Multiverse? Cambridge: Cambridge University Press,2007.
CHION, Michel. A Audiovisão. Som e Imagem no Cinema. Lisboa: Edições Texto&Grafia, 2011.
COOKE, Deryck. I Saw the World End: A Study of Wagner’s Ring. Oxford: Oxford University Press, 1979.
DAHLHAUS, Carl. Richard Wagner’s Music Dramas. Trad. Mary Whittall. Cambridge: Cambridge University Press, 1979.
DARCY, Warren. 'Everything That Is, Ends!': The Genesis and Meaning of the Erda Episode in 'Das Rheingold' . The Musical Times, vol.129, n. 1747, pp. 443-447,1988
DARCY, Warren. Creatio ex nihilo: The Genesis, Structure, and Meaning of the "Rheingold" Prelude. 19th-Century Music, 13.2, p.79-100,1989.
DARCY, Warren. Wagner's Das Rheingold. Oxford: Oxford University Press, 1997.
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DEATHRIDGE, John. (Trad. e notas). Richard Wagner’ The Ring of the Nibelung. Londres: Penguin, 2018.
De JONG, Irene. Narrators and Focalizers: The Presentation of the Story in the Iliad. Amsterdam: Gruner,1987.
DOEPLER, Carl Emil; WAGNER,Richard & STEINITZ, Clara. Der Ring des Nibelungen von Richard Wagner: Figurinen Erfunden und Gezeichnet. Berlin: Berlin Kunstdruck - und Verlags-Anstalt, 1889.
DONINGTON, Robert. Wagner’s Ring and Its Symbols. Londres: Faber&Faber,1974.
DÜRRER, Martin (Ed.). Richard Wagner: Sämtliche Briefe,Bd. 24:Briefe des Jahres 1872. Wiesbaden, 2015.
FALKENBERG, Erwin. Die Bedeutung des Lichtes und der Farben im Gesamtkunstwerk Richard Wagners. Berlin: Stomps, 1939.
FAUSER, Anngret. “Rheinsirenen. Loreley and Other Rhine Maidens” In: Linda Phyllis Austern & Inna Naroditskaya(Orgs.) Music of the Sirens. Bloomington/ Indianapolis :Indiana University Press, p. 250-272, 2006.
FISCHER-LICHTE, Erika. Tragedy's Endurance: Performances of Greek Tragedies and Cultural Identity in Germany since 1800. Oxford: Oxford University Press, 2017.
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GARCIA Jr., Luis. Homeric Temporalities. Simultaneity, Sequence, and Durability in the Iliad. Los Angeles. Tese de Doutorado, University of California,2007.
GERMANO, William. Wagner in Pieces: Opera, the Fragment, and Acoustic Totality. The Opera Quarterly, 23.2-3, p.277–294,2008.
GORDON, Parker. A Theory of Associations: An Explanation and Applications to Wagner’s Das Rheigold. Tese, Abilene University, 2016.
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HESSER, Gisele. Alberich. Der Glanz des Rheingolds und der filmische Raum. Monografia de conclusão do curso de Cenografia. Postdam, Hochschule fu?r Film und Fernsehen ‘Konrad Wolf’, 2001. Link: https://www.hesser.at/wp-content/uploads/2013/05/A_DGDRUDFR.pdf
HOLMAN, Jim. Wagner's Ring: A Listener's Companion and Concordance. Portland: Amadeus Press, 1996.
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JANZ, Tobias. Klangdramaturgie: Studien zur theatralen Orchesterkomposition in Wagners “Ring des Nibelungen”. Würzburg: Königshausen& Neumann, 2006.
KANDINSKY, Wassily. Do Espiritual em Arte. Trad. Álvaro Cabral & António Pádua Danesi. São Paulo: Martins Fontes, 1996.
KNAPP, Merril. Instrumentation Draft of Wagner's Das Rheingold. Journal of the American Musicological Society 30.2, p.272-295,1977.
KNUST, Martin. Sprachvertonung und Gestik in den Werken Richard Wagners: Einflüsse zeitgenössischer Deklamations- und Rezitationspraxis. Berlin: Frank &Timme,2007.
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KREUZER, Gundula. Curtain, Gong, Steam. Wagnerian Technologies of Nineteenth-Century Opera. Berkeley: University of California Press, 2018.
KREUZER, Gundula. Wagner-Dampf: Steam in Der Ring des Nibelungen and Operatic Production. The Opera Quarterly, 27.2-3,p.179–218, 2011.
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Sites
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http://www.zeno.org/Literatur/M/Wagner,+Richard/Autobiographisches/Mein+Leben
Textos teóricos de Wagner
http://users.belgacom.net/wagnerlibrary/prose/
Anel, Bilíngue Alemão/inglês, Frederick Jameson.
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https://pjb.com.au/mus/wagner/
Mitologia
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Motivos em O Anel
https://richard-wagner-werkstatt.com/leitmotive-2/
Musical Motives in the Ring
https://www.monsalvat.no/RingMotives.htm
ALLIS, MJ Richter's Wagner: a new source for tempi in Das Rheingold. Cambridge Opera Journal, 20.2, p.117-147, 2008.
ASTON, Elaine & SAVONA, George. Theatre as Sign System: A Semiotics of Text and Performance. Londres: Routledge, 2013.
BACHELARD, Gaston. La terre et les rêveries du repos. Paris: Corti, 1948.
BAKER, David & MÜLLENSIEFEN, David. Perception of Leitmotives in Richard Wagner's Der Ring des Nibelungen. Frontiers in Psychology 8, 1-8, 2017.
BAKHTIN, Mikhail. Cultura Popular na Idade Média: o contexto de François Rabelais. São Paulo: Hucitec, 2010.
BARBA,Eugenio & SAVARESE, Nicola. A Arte Secreta do Ator. Dicionário de Antropologia Teatral. Campinas/São Paulo: Editora Unicamp/Editora Hucitec, 1995
BARRAU, Aurélian; GYGER,Patrick; KISTLER,Max; UZAN, Jean-Philippe(Orgs.) Multivers - Mondes possibles de l'astrophysique, de la philosophie et de l'imaginaire.Montreal: La ville brûle,2010.
BRIBITZER-STULL ,Matthew. Echoes of Alberich‘s Anguish: Compositional Unity, Analytic Plurality, and Wagner‘s Das Rheingold. Journal of Schenkerian Studies, 3,p. 59-91,2008.
BRIBITZER-STULL ,Matthew. Understanding the Leitmotif.From Wagner to Hollywood Film Music. Cambridge: Cambridge University Press, 2015.
BRIBITZER-STULL, Matthew. Naming Wagner’s Themes. In: Matthew Bribitzer-Stull; Lubet A.; Wagner G. (Orgs.) Richard Wagner for the New Millennium. Studies in European Culture and History. Palgrave Macmillan, New York, p.91-110, 2007.
BROWN, Hilda Meldrum. The Quest for the Gesamtkunstwerk and Richard Wagner. Oxford: Oxford University Press, 2016.
BULLER, Jeffrey. The Thematic Role of Stabreim in Richard Wagner's
Der Ring des Nibelungen. The Opera Quarterly 11,4,p.59–93,1995.
BULLER,Jeffrey. Classically Romantic.C lassical Form and Meaning in Wagner'Ring. Philadelphia:XLibris,2001.
CARR, Bernard(Org.) Universe or Multiverse? Cambridge: Cambridge University Press,2007.
CHION, Michel. A Audiovisão. Som e Imagem no Cinema. Lisboa: Edições Texto&Grafia, 2011.
COOKE, Deryck. I Saw the World End: A Study of Wagner’s Ring. Oxford: Oxford University Press, 1979.
DAHLHAUS, Carl. Richard Wagner’s Music Dramas. Trad. Mary Whittall. Cambridge: Cambridge University Press, 1979.
DARCY, Warren. 'Everything That Is, Ends!': The Genesis and Meaning of the Erda Episode in 'Das Rheingold' . The Musical Times, vol.129, n. 1747, pp. 443-447,1988
DARCY, Warren. Creatio ex nihilo: The Genesis, Structure, and Meaning of the "Rheingold" Prelude. 19th-Century Music, 13.2, p.79-100,1989.
DARCY, Warren. Wagner's Das Rheingold. Oxford: Oxford University Press, 1997.
DEATHRIDGE, John; GECK, Martin; VOSS, Egon. Wagner Werk-Verzeichnis (WWV): Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen. Mainz, London, & New York: Schott Musik International, 1986.
DEATHRIDGE, John. (Trad. e notas). Richard Wagner’ The Ring of the Nibelung. Londres: Penguin, 2018.
De JONG, Irene. Narrators and Focalizers: The Presentation of the Story in the Iliad. Amsterdam: Gruner,1987.
DOEPLER, Carl Emil; WAGNER,Richard & STEINITZ, Clara. Der Ring des Nibelungen von Richard Wagner: Figurinen Erfunden und Gezeichnet. Berlin: Berlin Kunstdruck - und Verlags-Anstalt, 1889.
DONINGTON, Robert. Wagner’s Ring and Its Symbols. Londres: Faber&Faber,1974.
DÜRRER, Martin (Ed.). Richard Wagner: Sämtliche Briefe,Bd. 24:Briefe des Jahres 1872. Wiesbaden, 2015.
FALKENBERG, Erwin. Die Bedeutung des Lichtes und der Farben im Gesamtkunstwerk Richard Wagners. Berlin: Stomps, 1939.
FAUSER, Anngret. “Rheinsirenen. Loreley and Other Rhine Maidens” In: Linda Phyllis Austern & Inna Naroditskaya(Orgs.) Music of the Sirens. Bloomington/ Indianapolis :Indiana University Press, p. 250-272, 2006.
FISCHER-LICHTE, Erika. Tragedy's Endurance: Performances of Greek Tragedies and Cultural Identity in Germany since 1800. Oxford: Oxford University Press, 2017.
FRICKE, Richard. Wagner in Rehearsal: The Diaries of Richard Fricke. Trad. George R. Fricke. Orgs. A. Deaville & Evan Baker. Stuyvesant: Pendragon, 1998.
FRYE, Northrop. The Diaries of Northrop Frye, 1942-1955, Volume 8.Toronto: University of Toronto Press, 2001.
GARCIA Jr., Luis. Homeric Temporalities. Simultaneity, Sequence, and Durability in the Iliad. Los Angeles. Tese de Doutorado, University of California,2007.
GERMANO, William. Wagner in Pieces: Opera, the Fragment, and Acoustic Totality. The Opera Quarterly, 23.2-3, p.277–294,2008.
GORDON, Parker. A Theory of Associations: An Explanation and Applications to Wagner’s Das Rheigold. Tese, Abilene University, 2016.
GREENE, Brian. The Hidden Reality: Parallel Universes and the Deep Laws of the Cosmos. Nova York: Alfred A. Knopf, 2011.
GREY, Thomas. Wagner, the Overture, and the Aesthetics of Musical Form. 19th-Century Music, 12. 1. ,p. 3-22.
GRIFFIN, Jasper. Homeric Words and Speakers. The Journal of Hellenic Studies, 106, p.36-57,1986.
HAENCHEN, Harmut. Richard Wagner und das Tempo in seiner Musik. Link: http://www.porges.net/RichardWagnerTempo.html
HAMILTON, Christiane. The Function of the Deus ex Machina in Euripidean Drama. Tese, The Ohio State University,2017.
HAMILTON, Kenneth. “Wagner and Liszt: Elective Affinities” In: Thomas Grey(Org.). Richard Wagner and His World. Princeton: Princeton University Press, p. 27-64, 2000.
HESSER, Gisele. Alberich. Der Glanz des Rheingolds und der filmische Raum. Monografia de conclusão do curso de Cenografia. Postdam, Hochschule fu?r Film und Fernsehen ‘Konrad Wolf’, 2001. Link: https://www.hesser.at/wp-content/uploads/2013/05/A_DGDRUDFR.pdf
HOLMAN, Jim. Wagner's Ring: A Listener's Companion and Concordance. Portland: Amadeus Press, 1996.
HULSE, Kieran. The "Dramatic" Overture and the Idea of Tragic Narrative. Tese, King’s College, Londres, 2011.
JANZ, Tobias. Klangdramaturgie: Studien zur theatralen Orchesterkomposition in Wagners “Ring des Nibelungen”. Würzburg: Königshausen& Neumann, 2006.
KANDINSKY, Wassily. Do Espiritual em Arte. Trad. Álvaro Cabral & António Pádua Danesi. São Paulo: Martins Fontes, 1996.
KNAPP, Merril. Instrumentation Draft of Wagner's Das Rheingold. Journal of the American Musicological Society 30.2, p.272-295,1977.
KNUST, Martin. Sprachvertonung und Gestik in den Werken Richard Wagners: Einflüsse zeitgenössischer Deklamations- und Rezitationspraxis. Berlin: Frank &Timme,2007.
KRAMER, Lawrence. ‘Longindyingcall’’:Of Music, Modernity, and the Sirens. In: Linda Phyllis Austern & Inna Naroditskaya(Orgs.) Music of the Sirens. Bloomington/ Indianapolis :Indiana University Press, p. 250-272, 2006.
KREUZER, Gundula. Curtain, Gong, Steam. Wagnerian Technologies of Nineteenth-Century Opera. Berkeley: University of California Press, 2018.
KREUZER, Gundula. Wagner-Dampf: Steam in Der Ring des Nibelungen and Operatic Production. The Opera Quarterly, 27.2-3,p.179–218, 2011.
KRÖPLIN, Eckart. Richard Wagner - Musik aus Licht: Synästhesien von der Romantik bis zur Moderne. Eine Dokumentardarstellung. {3 volumes}. Würzburg: Könisgshausen&Neumann, 2011.
LOUJOZ, Louis. Multivers et réalité humaine. Paris: Editions du Moindre,2017.
MELTON,William. The Wagner Tuba: A History. Aachen:Edition Ebenos, 2008.
MORABITO, Sergio. “Die Liebe des Riesen: Anmerkungen zu einem Erzählstrang im Rheingold” In: Opernarbeit. Stuttgart: J.B. Metzler,p.59-66,2019.
MOORTELE, Stevan. The Romantic Overture and Musical Form from Rossini to Wagner. Cambridge: Cambribdge University Press, 2017.
MOTA, Marcus. A Dramaturgia Musical de Ésquilo. Investigações sobre Composição, Realização e Recepção de Ficções Audiovisuais. Brasília: Editora Universidade de Brasília, 2008.
MOTA, Marcus. Imaginação e Morte. Ensaios sobre a representação da Finitude. Brasília: Editora Universidade de Brasília, 2014.
MOTA, Marcus. Introdução à Dramaturgia Ateniense. Espaço, Som e Organização Textual. Revista Dramaturgia em Foco 1.1, p.78-95,2017.
NATTIEZ, Jean-Jacques. Wagner Androgyne. A Study in Interpretation. Trad. Stewart Spencer. Princeton, Princeton University Pres, 1993.
NUNES, Marylin. O Oposto: Um Princípio para o Desenvolvimento da Presença e Criação Cênicas. São Paulo: Dissertação de Mestrado-Unesp, 2017.
OTTO, Rudolf. O sagrado: aspectos irracionais na noção do divino e sua relação com o racional. Tradução de Walter O. Schlupp. São Leopoldo:Sinodal, EST; Petrópolis: Vozes, 2007.
PASTOUREAU, Michel. Azul. História de uma Cor. Lisboa: Orfeu Negro, 2016.
PETTY, Jonathan. Wagner's Lexical Tonality. E. Mellen Press, 2005.
POPOLIN, Daniela. A Personagem Erda na Tetralogia de Richard Wagner. Revista online Convergências, 3.5, 2010. Link: http://convergencias.esart.ipcb.pt/?p=article&id=75 . Acesso 20 10 2019.
PORGES, Heinrich. Wagner Rehearsing the 'Ring': An Eye-Witness Account of the Stage Rehearsals of the First Bayreuth Festival. Trad. Robert Jacobs. Cambridge: Cambridge University Press, 2009.
PROPP, Vladimir. Morfologia do Conto Maravilhoso. Trad. Jasna Paravich Sarhan. Rio de Janeiro: Forense Universitária, 1984.
REITER, Andrew. From Alberich to Gollum: Hollywood’s Transformation of the Leitmotiv. Tese, University of Delaware,2013.
RIBEIRO, Ana Francisca. Venho das estrelas. O Irrepresentável no Azul. Dissertação, Universidade de Lisboa,2016.
ROKEM, Freddie. Theatrical Immanence: The Deus ex Machina after the Death of God. Performance Philosophy, 3.3,p. 781-793,2017. Link: http://www.performancephilosophy.org/journal/article/view/142
SABOR, Rudolph. Richard Wagner; Das Rheingold: translation and commentary. Londres: Phaidon Press, 1997.
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Sites
Mein Leben online
http://www.zeno.org/Literatur/M/Wagner,+Richard/Autobiographisches/Mein+Leben
Textos teóricos de Wagner
http://users.belgacom.net/wagnerlibrary/prose/
Anel, Bilíngue Alemão/inglês, Frederick Jameson.
http://www.murashev.com/opera/Das_Rheingold_libretto_English_German
Tradução em português do Anel, por Luiz de Lucca
http://www.luciaduraes.com.br/backup/oanel/index.html
Link sobre motivos
https://www.monsalvat.no/RingList.htm
Página sobre motivos
http://www.laits.utexas.edu/wagner/home.html
Index de motivos
https://pjb.com.au/mus/wagner/
Mitologia
http://www.umich.edu/~umfandsf/symbolismproject/symbolism.html/Teutonic_Mythology/tm1.html
Motivos em O Anel
https://richard-wagner-werkstatt.com/leitmotive-2/
Musical Motives in the Ring
https://www.monsalvat.no/RingMotives.htm
