Music becomes emotions

ǂthe ǂmusical score in two productions of A Streetcar Named Desire

Abstract

From today's perspective, Alex North's score for the 1951 film A Streetcar Named Desire, which was considered remarkable even at the time, can claim legendary status. The titles of the 16-track score suggest that the music focuses on the characters, the setting, main motifs, crucial events and states of mind. The film soundtrack could thus be denoted as integral to and harmonized with the dramatic action. This is not the case in the 2008 staging at the Slovene National Theatre in Maribor, where the music composed and selected by Hrvoje Crnić Boxer seems to focus on the protagonist only. The performance revolves around Blanche and could be interpreted as a psychoanalytic study of the play through her subconscious. Analysing the musical layers of these two considerably different productions of Williams' play opens new interpretative aspects of this complex theatre and film classic from the Deep South literary tradition.

Keywords

music;film;drama;

Data

Language:	English
Year of publishing:	2016
Typology:	1.01 - Original Scientific Article
Organization:	UM FF - Faculty of Arts
UDC:	821.111(73).09-2Williams T.:78[791:792]
COBISS:	22407432
ISSN:	1581-8918
Views:	1161
Downloads:	226
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	Slovenian
Secondary title:	Glasba se prelevi v čustva
Secondary abstract:	Glasbo Alexa Northa v filmski različici Tramvaja poželenje, ki je že v času nastanka zbudila pozornost, lahko z današnje perspektive brez skromnosti označimo za legendarno. Iz naslovov šestnajstih pesmi filmske glasbe je mogoče razbrati, da se glasba nanaša na dramske osebe, kraj dogajanja, glavne motive, osrednje dogodke in miselna stanja; filmsko glasbo bi v tem smislu torej lahko imenovali vseobsegajočo in vseprisotno v zgodbi. Ta vidik je zelo drugačen v primeru ugledališčenja iste drame leta 2008 v SNG Maribor, kjer se zdi glasba, ki jo je skomponiral oz. izbral Hrvoje Crnić Boxer, osredinjena skoraj izključno na glavno osebo. Predstava se odvija okoli Blanche in bi jo bilo mogoče interpretirati kot psihoanalitično študijo igre skozi njeno podzavest. Analiza glasbe teh dveh zelo različnih si produkcij Williamsove drame odpira nove vidike interpretacije tega kompleksnega odrskega in filmskega dela iz literarne tradicije ameriškega globokega Juga.
Secondary keywords:	glasba;film;drama;ne zaključna dela;Tennessee;Williams;1911-1983;North;Alex;Filmska glasba;Scenska glasba;Legendarni liki;Čustva;
URN:	URN:NBN:SI
Type (COBISS):	Article
Pages:	str. 59-68
Volume:	ǂVol. ǂ13
Issue:	ǂno. ǂ1
Chronology:	2016
DOI:	10.4312/elope.13.1.59-68
ID:	9630237