Composing an opera - composing what opera is. The history of opera is a history of reform, leading to a rejection of opera, including its entry into music theater. Video-opera, opera-installation, performance, opera-instruction, non-opera, etc. - strategies of abandonment that nevertheless preserve a dialogue with opera. At the same time, this movement allows the original non-opera to be included in the field of opera.
Opera - what the composer/author calls "opera". It suggests that the work/subject/situation/process be considered from the perspective of opera.
What opera is associated with: theater/musicians/soloists/libretto/director/scenography/costumes/lights/auditorium/playing set/duration/tickets/history of the genre from its inception to the present, etc.
The installation/affirmation of the absence of a component (or of all components) is a way of affirming their presence. A garden of stones, whose essence is the invisible stone.
Thought is born in doubt. The Cartesian "I think, therefore I exist" is more exact: I doubt, therefore I exist, because the Cartesian identifies doubt with thought. Through doubt, the subject of doubt is realized.
Confession, on the other hand, objectifies, depriving the possibility of dialogue. We all know what opera is. Opera is an object with its own attributes (listed above).
These attributes often dictate solutions. By submitting to their dictates, by following them, the composer reproduces the opera as the sum of (historically conditioned) data. Through this dictate, the objectivity of the opera is transformed into subjectivity, while through subordination, the subjectivity of the composer is transformed into objectivity. If the subjectivity of both parties is preserved, the paths to a lively constructive dialogue open up. This is where the ethics of interpersonal relations come into play. In other words, composition (of opera, music, text, etc.) is an interpersonal dialogue, and the culture of dialogue becomes applicable to composition (attention, respect, criticism - or suppression, humiliation).
Let us return to doubt: this action is speculative, that is to say that its "site of action" is consciousness, imagination. Composition (as one of the practices of doubt) takes place in the imagination. The imaginary opera is that which is realized in the consciousness, before or in spite of its concrete incarnation. Example: a spoon (which could be any other object/appearance/event/...) as an opera. That is to say the proposal to see, to perceive the spoon in the context of an opera. The de/recontextualization of an object/appearance/event/... is realized by the delegation of the context. Magritte's (non)pipe or Duchamp's fountain are classic examples of de/recontextualization. These works turn out to be triggers of doubt/reflection - which have been unfolding for decades and have not lost their inertia.
Within the framework of the Academy, I suggest several axes of creative research:
1. An analysis of the works presented at the academy from the perspective of a dialogue with tradition.
2. Develop and discuss individual opera strategies.
3. Presentation of the strategies within the imaginary opera lab.