Papers by Agnieszka Lakner
Kwartalnik Młodych Muzykologów UJ, 2016
The Metropolitan Opera jako wiodący producent spektakli operowych. Strategia kreowania marki the ... more The Metropolitan Opera jako wiodący producent spektakli operowych. Strategia kreowania marki the Met1 Nowojorska The Metropolitan Opera należy niekwestionowanie do czołówki najlepszych teatrów muzycznych świata, zachwycając lub wzbudzając kontrowersje wyjątkowymi oraz barwnymi realizacjami dzieł literatury operowej. Niezależnie, czy nowa produkcja spektaklu jest udana, czy nie, żadne z przedsięwzięć tego teatru nie pozostaje bez echa. To także jeden z najlepiej wyposażonych gmachów operowych, z liczbą trzech tysięcy ośmiuset miejsc na widowni, spektakularnymi scenografiami, złotą kurtyną, żywymi zwierzętami na scenie oraz angażem Franca Zeffirellego. Zespół teatru określa swoją instytucję jako "tętniący życiem dom dla najbardziej utalentowanych artystów: śpiewaków, dyrygentów, kompozytorów, muzyków orkiestrowych, scenografów, projektantów, plastyków, choreografów i tancerzy z ca łego świata"2. Met, znana jako siedziba najlepszych światowych głosów, posiada także chór i orkiestrę operową, o których najwyższy poziom dbał (od 1976 roku do 2016 roku) dyrygent James Levine-rekordzista 1 Tekst został oparty na fragmentach pracy licencjackiej autorki pt. The Metropolitan Opera jako wiodący producent spektakli operowych. Strategia kreowania marki the Met, napisanej pod kierunkiem dr.
The Metropolitan Opera as a leading producer of opera. The
strategy of creating a Met brand
The a... more The Metropolitan Opera as a leading producer of opera. The
strategy of creating a Met brand
The aim of an article is to show a strategy of creating brand by Metropolitan
Opera according to the theory of global culture industry by
Scott Lash and Ceila Lury. The main process which plays a significant
role in this strategy is a medialisation of the opera, which provides
constant update of this genre and helps it to adapt its form for a contemporary
consumer. This strategy changes the relation between
product and its recipient on several levels and makes an opera a new,
fresh and modern music genre, as well as a theatrical and cinematic
experience. Expansive Met brand transforms the operatic industry
and introduces numerous innovations as Live in HD, iPod applications,
Met on Demand, a brand of a singer etc. There’s also a significant aura
around this brand, which imposes a form of thinking and causes
certain expectations in relation to the consumer goods made by Met.
According to the Roland Barthes’ theory of modern myth, the perception
of this brand depends also on its history, memory and tradition, as
well as being created by the identity itself. Thanks to the innovations
and the nature of the event, an access to the opera nowadays is much
easier and becomes a sign of a modern era.
After Second World War socialist realism, developed in Soviet
Union, became a dominant style in a... more After Second World War socialist realism, developed in Soviet
Union, became a dominant style in art in USRR and other
socialist countries of Soviet bloc, like Czechoslovakia, Hungary,
East Germany and Poland. Having – as its purpose - the
furtherance of the goals of socialism and communism, socialist realism and government cut down the artistic freedom of painters, filmmakers, directors, poets, dancers and composers. According to the music – this is a time of a mass songs, cantatas and other vocal and instrumental music pieces which refer to communism propaganda imposed by the government. Music became a medium of a doctrine and indoctrination, as well as a tool to educate working class.
How did it happen that music – an artistic phenomenon –
became an art at the service of a state, more political than just the one with an esthetic aim?
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Papers by Agnieszka Lakner
strategy of creating a Met brand
The aim of an article is to show a strategy of creating brand by Metropolitan
Opera according to the theory of global culture industry by
Scott Lash and Ceila Lury. The main process which plays a significant
role in this strategy is a medialisation of the opera, which provides
constant update of this genre and helps it to adapt its form for a contemporary
consumer. This strategy changes the relation between
product and its recipient on several levels and makes an opera a new,
fresh and modern music genre, as well as a theatrical and cinematic
experience. Expansive Met brand transforms the operatic industry
and introduces numerous innovations as Live in HD, iPod applications,
Met on Demand, a brand of a singer etc. There’s also a significant aura
around this brand, which imposes a form of thinking and causes
certain expectations in relation to the consumer goods made by Met.
According to the Roland Barthes’ theory of modern myth, the perception
of this brand depends also on its history, memory and tradition, as
well as being created by the identity itself. Thanks to the innovations
and the nature of the event, an access to the opera nowadays is much
easier and becomes a sign of a modern era.
Union, became a dominant style in art in USRR and other
socialist countries of Soviet bloc, like Czechoslovakia, Hungary,
East Germany and Poland. Having – as its purpose - the
furtherance of the goals of socialism and communism, socialist realism and government cut down the artistic freedom of painters, filmmakers, directors, poets, dancers and composers. According to the music – this is a time of a mass songs, cantatas and other vocal and instrumental music pieces which refer to communism propaganda imposed by the government. Music became a medium of a doctrine and indoctrination, as well as a tool to educate working class.
How did it happen that music – an artistic phenomenon –
became an art at the service of a state, more political than just the one with an esthetic aim?
strategy of creating a Met brand
The aim of an article is to show a strategy of creating brand by Metropolitan
Opera according to the theory of global culture industry by
Scott Lash and Ceila Lury. The main process which plays a significant
role in this strategy is a medialisation of the opera, which provides
constant update of this genre and helps it to adapt its form for a contemporary
consumer. This strategy changes the relation between
product and its recipient on several levels and makes an opera a new,
fresh and modern music genre, as well as a theatrical and cinematic
experience. Expansive Met brand transforms the operatic industry
and introduces numerous innovations as Live in HD, iPod applications,
Met on Demand, a brand of a singer etc. There’s also a significant aura
around this brand, which imposes a form of thinking and causes
certain expectations in relation to the consumer goods made by Met.
According to the Roland Barthes’ theory of modern myth, the perception
of this brand depends also on its history, memory and tradition, as
well as being created by the identity itself. Thanks to the innovations
and the nature of the event, an access to the opera nowadays is much
easier and becomes a sign of a modern era.
Union, became a dominant style in art in USRR and other
socialist countries of Soviet bloc, like Czechoslovakia, Hungary,
East Germany and Poland. Having – as its purpose - the
furtherance of the goals of socialism and communism, socialist realism and government cut down the artistic freedom of painters, filmmakers, directors, poets, dancers and composers. According to the music – this is a time of a mass songs, cantatas and other vocal and instrumental music pieces which refer to communism propaganda imposed by the government. Music became a medium of a doctrine and indoctrination, as well as a tool to educate working class.
How did it happen that music – an artistic phenomenon –
became an art at the service of a state, more political than just the one with an esthetic aim?