Journal article Open Access

Jak zgubić własny cień? Nawiedzenie przeszłością i przyszłością w musicalu Mozart!

Golonka, Marek

In the article How to Get Rid of Your Shadow? Hauntings of Past and Future in »Mozart!« the Musical, Marek Golonka utilizes the aforementioned play to present his interpretation of the artistic work of its librettist, Michael Kunze. Golonka describes Kunze’s artistic career—particularly his musicals—and points at his persistence in showing historical figures as haunted by metaphorical characters designed to comment on their situation and reflect on their personality.The central point of the paper is the analysis of Mozart!’s most prominent storytelling device—the split of Wolfgang Ama­deus Mozart into two characters: adult, contemporary-dressed Wolfgang, and the child Amadé, dressed to resemble Mozart’s most iconic portraits. In this duo, Wolfgang is visible to the outside world and represents Mozart’s social and emotional needs, whilst Amadé, incorporating Mozart’s talent and creative needs, is visible only to his adult counterpart. Golonka interprets this split as an attempt to show Mozart both as a gifted individual and an Everyman close to the audience. He also points at how this split shows the conflict between Mozart’s own needs and the standards of his father. By analyzing scenes that show Amadé’s haunting presence as a burden for Wolfgang, Golonka reconstructs Kunze’s interpretation of Mozart’s life as a struggle against his own creative discipline that sometimes grows to an all-encompassing obsession.

Files (336.6 kB)
Name Size
3 Golonka.pdf
md5:e37736481941f6ea298928bb8b4aa86c
336.6 kB Download
  • Arens, Katherine (2006), 'Glücklichist, wer [nicht] vergisst: From Museum Culture to Broadway-an-der-Wien' w: Gerd Bayer (red.), Mediating Germany: Popular Culture between Tradition and Innovation, Newcastle: Cambridge Scholars Press. ss. 73-91.

  • Carlson, Marvin (2003), The Haunted Stage: The Theatre as Memory Machine, Michigan: The University of Michigan Press.

  • Derrida, Jacques (2016), Widma Marksa: stan długu, praca żałoby i nowa Międzynarodówka, przekł. Tomasz Załuski, Warszawa: Wydawnictwa Naukowe PWN.

  • Elias, Norbert (2011), Mozart. Portret geniusza, oprac. Michael Schröter, przekł. Bogdan Baran, Pößneck: Wydawnictwo Naukowe PWN.

  • Facta Ficta Journal (2017), Editorial guidelines, online: https://factafictajournal.com /editorial-guidelines/ [dostęp: 10.09.2017].

  • Francesca, Zambello, reż. (2006), Rebecca, Wiedeń: Raimund Theater.

  • Kerenyi Miklos, Gabor, reż. (2003), Mozart!, Budapeszt: Budapeszteński Teatr Operetki.

  • Kerenyi Miklos, Gabor, reż. (2016), Marie Antoinette, Budapeszt: Budapeszteński Teatr Operetki.

  • Knapp, Raymond (2006), The American Musical and the Formation of National Identity, Princeton: Princeton University Press.

  • Kraińska, Katarzyna (2016), Dramamusical Michaela Kunze. W stronę kultury wysokiej, Wydział Wiedzy o Teatrze Akademii Teatralnej im. Aleksandra Zelwerowicza w Warszawie [nieopublikowana praca magisterska].

  • Kunze, Michael (1999), 'Mozart, Mozart!', w: Mozart!, Wiedeń: Theater an der Wien [CD z piosenkami ze spektaklu].

  • Kunze, Michael (2013), 'Mir wuchs Elisabeth ans Herz', Blickpunkt Musical Sonderheft: 2, ss. 4-6.

  • Kunze, Michael (2015), 'Ein Gleichnis für das Erwachsenwerden', Blickpunkt Musical Sonderheft: 4, ss. I-006 do I-009.

  • Kunze, Michael, Sylvester Levay (2015): 'Michael Kunze und Sylvester Levay im Gespräch', Mozart! Das Musical [program spektaklu], ss. 12-15.

  • Kupfer, Harry, reż. (1999), Mozart!, Wiedeń: Theater an der Wien.

  • Kupfer, Harry, reż. (2012), Elisabeth, Wiedeń: Raimund Theater.

  • Kupfer, Harry, reż. (2016), Mozart!, Wiedeń: Raimund Theater [DVD].

  • Levay, Sylvester (2015), 'So spiegeln die Figuren in »Mozart!« alle etwas vom Leben wieder', Blickpunkt Musical Sonderheft: 4, ss. I-010 do I-014.

  • Lorek-Jezińska, Edyta (2013), Hauntology and Intertextuality in Contemporary British drama by Women Playwrights, Toruń: Wydawnictwo Uniwersytetu Mikołaja Kopernika.

  • PageWizz.com (2010) 'Michael Kunze – Wie ein Drama Musical entsteht', Pagewizz.com, online: https://pagewizz.com/michael-kunze/ [dostęp: 10.09.2017].

  • Polański, Roman reż. (2016), Tanz der Vampire, Berlin: Theater des Westens.

  • Powell Benjamin D., Tracy Stephenson Shaffer (2009), 'On the Haunting of Performance Studies', Liminalities: A Journal of Performance Studies, 1 (5), online: http://liminalities.net/5-1/hauntology.pdf [dostęp: 10.09.2017].

  • Prece Paul, William A. Everett (2008), 'The megamusical: the creation, internalization and impact of a genre', w: William Everett, Paul Laird (red.), The Cambridge Companion to the Musical (Kindle Edition), Cambridge: Cambridge University Press, ss. 250-269.

  • Rokem Freddie (2010), Wystawianie historii. Teatralne obrazy przeszłości we współczesnym teatrze, przekł. Mateusz Borowski, Małgorzata Sugiera, Kraków: Księgarnia Akademicka.

  • Rosselli, John (1998), The life of Mozart, Cambridge: Cambridge University Press.

  • Sebesta, Judith (2008), '»Something borrowed, something blue«: the marriage of the musical and Europe', w: William Everett, Paul Laird (red.), The Cambridge Companion to the Musical (Kindle Edition), Cambridge: Cambridge University Press, ss. 270-283.

  • Sternfeld, Jessica (2006), The Megamusical, Bloomington: Indiana University Press.

  • Storyarchitekt.com (2009), 'Michael Kunze Biographie', online: http://www.storyarchitekt.com/kunze/kunze.php [dostęp: 10.09.2017].

  • Vereinigte Bühnen Wien (2017), Mozart! – Heart Blood of a Troubled Genius, online: http://vbw-international.at/mozart/ [dostęp: 10.09.2017]

33
27
views
downloads
All versions This version
Views 3333
Downloads 2727
Data volume 9.1 MB9.1 MB
Unique views 3030
Unique downloads 2626

Share

Cite as