Although reports of opera's death have been greatly exaggerated, interest was indeed focused on other genres for much of the twentieth century. These "other genres," however, did not exclude theatrical representational works for the stage. A good deal of compositional energy that might otherwise have been devoted to opera was redirected to the quest for new forms of theatrical-theatrical representational performance. Several composers who created relatively few operas, or none at all, composed numerous theatrical works of various sorts--staged works that fit neither the operatic nor balletic molds. Alternatively, the career of a composer otherwise committed to opera composition might contain a period of experimentation with new theatrical genres. A higher vantage point is required to appreciate the amount of compositional ... Showed first 120 words of 1437 Size (words) ...

... Continuing with another 115 out of 1437 Size (words) ...example, describes the theatrical representations of intercultural performance of this period as involving a "politicization of opera, " and considers the works of the British avant-garde and of such figures as Hans Werner Henze, Luigi Nono, and Luciano Berio as constituting the core examples of the form.

Those focusing on British examples tend to employ "theatrical representations of intercultural performance" to refer to the presence of theatrical elements in works that are otherwise of concert form. The tendency to focus on examples from this later period with only occasional reference to the appropriate Stravinskian and Schoenbergian archetypes ignores the great diversity of theatrical representations of intercultural performance, its evolving history, and the prominent contributions arising ...Essay still continues 100 more words...