Let's start with where opera happens: the opera house. For the 2022/23 season, Opernhaus Dortmund, known for its fine instinct for rare gems on the operatic stage, decided to mount Jacques François Fromental Halévy's La Juive. Having been introduced to this grand opéra as a first-year musicology student, I was excited to see the premiere of Sybrand van der Werf's production on a Sunday night in November 2022 – while preparing this review. As it turns out, the performance transferred me straight into the core arguments of each of the three books under consideration here: the intense co-presence unfolding between the performer and audience, generated as in Clemens Risi's account by a briefly indisposed singer; the inclusion of visual codes evoking SM erotic play on stage, which also informs Axel Englund's investigation; and finally, the production of a hypermedia spectacle, which is Tereza Havelková's central concern. A single performance demonstrated the relevance and applicability of each of Risi's, Englund's and Havelková's studies.

中文翻译：

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快乐快乐！奎尔·普莱瑟？– 表演中的身体

让我们从歌剧发生的地方开始：歌剧院。在 2022/23 赛季，以对歌剧舞台上珍稀宝石的敏锐直觉而闻名的多特蒙德歌剧院决定安装 Jacques François Fromental Halévy 的朱维. 被介绍到这个大歌剧院作为音乐学一年级的学生，我很高兴在 2022 年 11 月的一个星期天晚上看到 Sybrand van der Werf 的作品首映——同时准备这篇评论。事实证明，表演让我直接进入了这里正在考虑的三本书的核心论点：表演者和观众之间展开的强烈共存，就像克莱门斯·里西 (Clemens Risi) 所说的那样，是由一位短暂不适的歌手产生的；包括唤起 SM 舞台上色情表演的视觉代码，这也为 Axel Englund 的调查提供了信息；最后，制作超媒体奇观，这是 Tereza Havelková 的核心关注点。一次表演就证明了 Risi、Englund 和 Havelková 的每项研究的相关性和适用性。