Participatory Opera

Participatory Opera offers a critical analysis of spectator immersion and participation in contemporary opera, and explores resultant intersections with notions of individuality and community within these emerging contexts. As such, this book defines participatory opera, explores ways it challenges traditional roles of "audience," "performer," and "author," and situates Euro-American participatory opera within the broader context of participatory philosophy, theory, and art of the twentieth century. Part I examines key philosophies and theories surrounding audience participation throughout the twentieth century that later manifest in experimental opera works. Part II draws together the diverse practices and approaches described in the previous chapters towards a unifying theory of participatory opera through several case studies of twenty-first century participatory operas. As a whole, this book reveals participatory opera as a contested site of meaning and intention, particularly agile and adaptive, and inherently value-laden, political, and antagonistic. Academic yet accessible, this book is primarily intended for scholars and graduate students, although professionals and practitioners may also find it appealing. Opera scholars will find this book addresses a critical element of contemporary opera. Likewise, scholars of participatory art will find it reveals that opera, too, engages with participatory practices and histories and should be incorporated into discourses surrounding participatory art. Scholars of experimental and avant-garde music and theater will find this text re-examines the relationship between opera and experimental art and theater

Kathryn L. Caton teaches music history and literature at the University of Houston, Moores School of Music. Her research interests include twentieth- and twenty-first century opera, the long avant-garde, and experimental, collaborative, and participatory performance. She also serves as the co-chair of the Society for American Music's Experimental Music Interest Group.

Introduction: Opera and Participation PART I: The Rhetoric of Participation 1 Participation and Power 2 "Towards Theater": The Art-Life Merger, 3 Discoursing Site-Specific and Participatory Values PART II: Participatory Opera in the Twenty-First Century 4. Between Rhetoric and Reality: Participation in Invisible Cities and Hopscotch5. I Want You to Know Me: Process, Genre, and Activism 6. Another City: New Genre Public Opera Conclusion: A Contested Site