Daniele Daude
Guest Author
Daniele Daude holds a Ph.D. in Theater Studies from the Freie Universität Berlin and a Ph.D. in Musicology from the Université Paris 8. She teaches in Germany and France (Humboldt-Universität zu Berlin, Berlin University of the Arts, Caribbean University of the Arts). She recently published Oper als Aufführung (transcript 2014) on opera analysis. Her research focuses on the history of opera production, semiotics of theater, postcolonial analysis and performance theories. Currently she is preparing her post doctorate project on ideology and performances. See also: danielegdaude.com, operaco.blogspot.com
THIS AUTHOR WROTE
Daniele Daude holds a Ph.D. in Theater Studies from the Freie Universität Berlin and a Ph.D. in Musicology from the Université Paris 8. She teaches in Germany and France (Humboldt-Universität zu Berlin, Berlin University of the Arts, Caribbean University of the Arts). She recently published Oper als Aufführung (transcript 2014) on opera analysis. Her research focuses on the history of opera production, semiotics of theater, postcolonial analysis and performance theories. Currently she is preparing her post doctorate project on ideology and performances. See also: danielegdaude.com, operaco.blogspot.com
May 12, 2014
Based on a presentation during the IRC symposium Blackface, Whiteness and the Power of Definition in Contemporary German Theatre, this essay explores which set of filters are used by white artists and academics to (re)create race on the opera stage. In order to understand this nexus of practices and discourses, the essay employs the concept of racialization, focusing on three filters in particular: racialized dramaturgy, the racialized stage, and racialized embodiment.