Opéra comme image de la société: rituels des “miroirs magiques” dans
DOI :
https://doi.org/10.21301/eap.v11i1.1Mots-clés :
opéra, rituel, Bayreuth, Opéra des Margraves, Wilhelmine de BayreuthRésumé
l’Opéra des Margraves à Bayreuth au 18e siècle Dans cet article je propose une approche ritualiste de l’opéra dans le cas historique de l’Opéra des Margraves à Bayreuth en Bavière au milieu du 18e siècle, pour montrer que l’opéra de cour peut être compris comme une sorte d’image de la société. En ce sens, l’opéra de cour est observé comme un genre particulier de communication à l’aide de laquelle l’opéra a établi différents types de rapports entre lui-même et les mondes sociaux dans lesquels et pour lesquels il a été créé. En se basant sur des rituels d’opéras organisés sous la direction et le parrainage de Wilhelmine de Bayreuth et de son époux Frederick, on déterminera que le couple régnant a utilisé l’opéra pour toute une suite d’objectifs sociaux et politiques. L’opéra des Margraves, en tant que genre aussi bien qu’en tant qu’institution est interprété à l’aide des modèles analytiques des anthropologues des rituels et du théâtre comme Victor Turner, Clifford Geertz, Maurice Bloch, Stanley Tambiah, Catherine Bell, et leurs théories des rituels, notamment du concept de Turner de « salle des miroirs magiques » ont été utilisés.
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