Bellini’s Gothic Voices Bellini, ‘Un grido io sento’ (Alaide), <i>La straniera</i>, Act I

Protano-Biggs, Laura

doi:10.1017/s0954586716000148

OPR

2016

DOI: 10.1017/s0954586716000148

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Bellini’s Gothic Voices Bellini, ‘Un grido io sento’ (Alaide), La straniera, Act I

Laura Protano-Biggs¹

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Lucia’s Ghosts: Sonic, Gothic and Postmodern

Fillerup¹

2016

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In this article, I use an intertextual interference – the spectral presence of Norma Desmond in a performance of Donizetti’sLucia di Lammermoor– as a locus through which to explore the consequences of the ‘open’ text in theatrical spectatorship, criticism and historical study. Norma’s ghosting of Lucia reveals how spectral effects function in musical and dramatic contexts, particularly in Gothic works. These effects replace illusions of linear teleology with temporal synchronicity and destabilise the boundaries that separate the critic or spectator from the work. Though examiningLuciathrough the lens ofSunset Boulevardinverts chronological sequence, it acknowledges the temporal contradictions inherent in historical work and assigns productive meaning to nostalgic impulses that engage a reflective mode of thought.

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Lucia’s Ghosts: Sonic, Gothic and Postmodern

Fillerup¹

2016

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Bellini’s Gothic Voices Bellini, ‘Un grido io sento’ (Alaide), La straniera, Act I

Cited by 1 publication

References 2 publications

Lucia’s Ghosts: Sonic, Gothic and Postmodern

Lucia’s Ghosts: Sonic, Gothic and Postmodern

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