리게티 오페라 《위대한 죽음》에서의 ‘전통’과 ‘실험’의 ‘혼합성’ 연구

Abstract

The opera Le Grand Macabre by Görgy Ligeti (1923-2006) was composed with the intention of clearly distancing itself from experimental stage music creation of ‘Anti-Oper’ and the composer declared it as ‘Anti-anti-Oper.’ This allows Le Grand Macabre to be understood on the same line as the ‘Literatur-Oper,’ which was different from the experimental stage music creation at the time. However, the fact that Le Grand Macabre puts ‘music at the center rather than the script,’ keeps distance from ‘Literatur-Oper.’ This paper confirms that the embracement of ‘tradition’ and ‘experimentation’ inherent in Le Grand Macabre and musical result from the mixture of these differentiates this work from the music creation trend at that time, and cleary shows a intention of the composer who wants to ‘return to the traditional opera.’ To set the scope of the analysis of the work, the script of Le Grand Macabre is compared with the original La Ballade du Grand Macaber, 1934, a ‘Sprechtheater’ by Michael de Ghelderode (1898-1962). After a comparative analysis of the script, a study of experimentation on speech excluding semantic elements of text (Act 2 Scene 3, Gepopo’s Aria, a battle of curse between the two ministers, a scene that makes the Grim Reaper drunk) and experimentation on space (Act 1 Scene 2, Backstage women’s chorus with Venus and Act 2 Scene 3, mixed chorus placed in the audience seats, the scene of the Musician of Death playing from the entrance to the concert hall across the audience) are conducted with the parts that appeared in the front. As a result, the linguistic and spatial experimental features contained in the opera Le Grand Macabre are different from theater of the absurd or experimental stage music, and the features are blended with traditional musical methods for expressing dramatic plots and situations. The understanding of Ligeti’s creative intention for ‘again opera’ or ‘Anti- anti-Oper’ through blend of traditions and experiments in Le Grand Macabre is comparable to Mozart, who intensified dramatic interest by balancing and harmonizing music and drama.