|
A ''Gesamtkunstwerk'' (, translated as total work of art,〔Millington (n.d.), Warrack (n.d.)〕 ideal work of art,〔Oxford English Dictionary, ''Gesamtkunstwerk''〕 universal artwork,〔(ArtLex Art Dictionary )〕 synthesis of the arts, comprehensive artwork, all-embracing art form or total artwork) is a work of art that makes use of all or many art forms or strives to do so. The term is a German word which has come to be accepted in English as a term in aesthetics. The term was first used by the German writer and philosopher K. F. E. Trahndorff in an essay in 1827.〔Trahndorff (1827)〕 The German opera composer Richard Wagner used the term in two 1849 essays, and the word has become particularly associated with his aesthetic ideals. It is unclear whether Wagner knew of Trahndorff's essay. In the twentieth century, some writers applied the term to some forms of architecture, while others have applied it to film and mass media.〔For discussions of architecture as Gesamtkunstwerk, see the relevant section of this article. For discussions of film and mass media, see for instance Matthew Wilson Smith, ''The Total Work of Art: From Bayreuth to Cyberspace.'' New York: Routledge, 2007; Carolyn Birdsall, ''Nazi Soundscapes: Sound, Technology, and Urban Space in Germany, 1933-1945.'' Amsterdam: Amsterdam University Press, 2012. pp. 141-172; and Jeongwon Joe, “Introduction: Why Wagner and Cinema? Tolkien Was Wrong.” In ''Wagner and Cinema,'' edited by Jeongwon Joe and Sander L. Gilman, 1-26. Indiana: Indiana University Press, 2010.〕 ==Before Wagner== Some elements of opera reform, seeking a more "classical" formula, had begun at the end of the 18th century. After the lengthy domination of opera seria, and the ''da capo aria'', a movement began to advance the librettist and the composer in relation to the singers, and to return the drama to a more intense and less moralistic focus. This movement, "reform opera" is primarily associated with Christoph Willibald Gluck and Ranieri de' Calzabigi. The themes in the operas produced by Gluck's collaborations with Calzabigi continue throughout the operas of Carl Maria von Weber, until Wagner, rejecting both the Italian ''bel canto'' tradition and the French "spectacle opera", developed his union of music, drama, theatrical effects, and occasionally dance. However these trends had developed fortuitously, rather than in response to a specific philosophy of art; Wagner, who recognised the reforms of Gluck and admired the works of Weber, wished to consolidate his view, originally, as part of his radical social and political views of the late 1840s. Previous to Wagner, others who had expressed ideas about union of the arts, which was a familiar topic among German Romantics, as evidenced by the title of Trahndorff's essay, in which the word first occurred, "Aesthetics, or Theory of Philosophy of Art". Others who wrote on syntheses of the arts included Gottfried Lessing, Ludwig Tieck and Novalis.〔Millington (n.d.)〕 Carl Maria von Weber's enthusiastic review of E.T.A. Hoffmann's opera ''Undine'' (1816) admired it as 'an art work complete in itself, in which partial contributions of the related and collaborating arts blend together, disappear, and, in disappearing, somehow form a new world'. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「gesamtkunstwerk」の詳細全文を読む スポンサード リンク
|