루소의 오페라 미학- 「피그말리온」을 중심으로
The aesthetics of Rousseau's opera - the Pygmalion
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Our arguments based on the aesthetic ideas of Rousseau on the occasion of the setting to music of his pygmalion within the framework of the invention of this new kind that is the melodrama. According to Rousseau, the marvelous and the machines are means of producing the illusion in classical aesthetics, both being made for the pleasure of the senses. But Rousseau offers to abandon the wonderful and machines to paint the human world. To achieve this, the subjects to be represented recommended by Rousseau are the intimate feelings. What Rousseau seeks to awake in the viewer of the opera is the sensitivity by which one can identify oneself with the characters in the scene. The opera, too, is a place where the ‘chain of feelings’ must be represented. The opera is all the more appropriate to this representation that it is these sentimental movements that gave birth to the song, that is to say the germ language and melody. The opera presents to the spectator a world of illusion where he identifies himself psychologically with the heroes or heroines. But Rousseau, thinking that modern poetry and music have their own prosody because of their respective degeneration, proposes to follow the monologue speaks and instrumental music instead of singing monologues. We can therefore conclude that the structure used in the writing of Pygmalion is set up to express a psychological situation suggested thanks to the declaimed and gestural monologue (acting).
Abstract
Our arguments based on the aesthetic ideas of Rousseau on the occasion of the setting to music of his pygmalion within the framework of the invention of this new kind that is the melodrama. According to Rousseau, the marvelous and the machines are means of producing the illusion in classical aesthetics, both being made for the pleasure of the senses. But Rousseau offers to abandon the wonderful and machines to paint the human world. To achieve this, the subjects to be represented recommended by Rousseau are the intimate feelings. What Rousseau seeks to awake in the viewer of the opera is the sensitivity by which one can identify oneself with the characters in the scene. The opera, too, is a place where the ‘chain of feelings’ must be represented. The opera is all the more appropriate to this representation that it is these sentimental movements that gave birth to the song, that is to say the germ language and melody. The opera presents to the spectator a world of illusion where he identifies himself psychologically with the heroes or heroines. But Rousseau, thinking that modern poetry and music have their own prosody because of their respective degeneration, proposes to follow the monologue speaks and instrumental music instead of singing monologues. We can therefore conclude that the structure used in the writing of Pygmalion is set up to express a psychological situation suggested thanks to the declaimed and gestural monologue (acting).
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