How to create a multi-artistic piece. (Part 1 of 2)

Written by Andrew Hanna

Inrepparttar late 19th centuryrepparttar 149840 music world was graced by an artist who would pushrepparttar 149841 boundaries of music and art. Richard Wagner laidrepparttar 149842 foundation for performance art. Wagner combined several art forms into a cohesive unit. One ofrepparttar 149843 primary elements that Wagner would use to create this holistic creation war music, which wasrepparttar 149844 driving force for many of his pieces. But he incorporated other media such as scenic design, costumes, and intricate themes. The themes of many of his operas explored love between people and were expressed through mythical elements. Afterrepparttar 149845 passing of Wagner,repparttar 149846 collective art would remain dormant for 30 years after his death. Inrepparttar 149847 early 20th century collective art was revived through Serge Diaghilav’s Ballets Russes. His company would explore collective art in a different direction than Wagner. One ofrepparttar 149848 primary aspects of Wagner’s operas and Diaghilav’s productions was thatrepparttar 149849 Ballets Russes never used speech to narraterepparttar 149850 story. Wagner onrepparttar 149851 other hand used speech and vocals to express and carryrepparttar 149852 narration. Additionally,repparttar 149853 method of creation betweenrepparttar 149854 Ballets Russes and Wagner was that Wagner primarily produced almost every aspect ofrepparttar 149855 performance, while onrepparttar 149856 other handrepparttar 149857 Ballets had a expert in each field to give direction. For example,repparttar 149858 story line to The Rite of Spring was created by Stravinsky, butrepparttar 149859 choreography was developed by Vaslov Nijinsky. In contrast to this piece, almost every aspect of Wagner’s Das Rheingold was created by Wagner. Wagner createdrepparttar 149860 music, designedrepparttar 149861 stage set, instructedrepparttar 149862 movement ofrepparttar 149863 actors, etc. The primary difference inrepparttar 149864 method of between Wagner andrepparttar 149865 Ballets Russes is thatrepparttar 149866 Ballets Russes relied on input from one expert from each media and Wagner used a solo approach. Many ofrepparttar 149867 above artistic works have been archived through various means such as scores, librettos, etc. But unfortunatelyrepparttar 149868 methods of creation for these productions have been rarely recorded and/or available for scholarly inspection. Inrepparttar 149869 two examples above, one can find a libretto on each, which outlinesrepparttar 149870 overall story, but does not helprepparttar 149871 artist to learn how to create a multi-artistic piece. In this installment of four articles,repparttar 149872 questions that will be addressed and answered include: What is a libretto? How can a libretto aid in developing a story line? How does one choose a theme? Shouldrepparttar 149873 story development be linear or abstract? The first issue that a collective artist must address is theme that will be explored. A themerepparttar 149874 foundation of for a production. Themes can be simple or complex in design. DeBussey’s Afternoon of a Fawn has a simple theme in that it exploresrepparttar 149875 end of innocence and marksrepparttar 149876 beginning of adulthood. In contrast to this piece, Wagner’s Flying Dutchman investigatesrepparttar 149877 intricacies of a interpersonal relationship. In these two examplesrepparttar 149878 themes are fairly straightforward. Onrepparttar 149879 other hand, The Rite of Spring appears to be complex at first, but after analysis one will find that inrepparttar 149880 very least it exploresrepparttar 149881 various aspects of primitivism.

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