Conference report
Although it was keenly felt that we should resist collapsing methodologies and repertories, oversimplifying, for example, the relationship between nineteenth-century theatrical practice and twentieth-century film, or French and English meanings of the term ‘melodrama’, there were nevertheless recurring themes and ideas that ran through the conference. These centred on music’s role as a mediating force between different ‘spaces’, and included the mutability of ‘voice’, the use of musical clichés and the creative tension between high and low cultural traditions. It is clear that ideas and critical approaches associated with certain disciplines and/or repertories can profitably be shared, and that the ‘melodramatic’ is a useful tool with which to understand repertory from the eighteenth through to the twentieth centuries - embracing the overlapping categories of genre, technique and aesthetic.
Genre
A number of speakers demonstrated ways in which the separate traditions of melodrama that emerged in France at the end of the eighteenth century – what one might categorise as elite and popular (the conceptions of Rousseau and Pixérécourt respectively) – continued to evolve through the nineteenth century. The former was particularly associated with a concert tradition influenced by Benda and cultivated by such German composers as Schumann, the latter with a theatrical phenomenon in France (and also notably in England, the US and the Czech Lands) that had a particular influence on opera. (Though there was some cross-fertilisation between these concert and theatre traditions.) Two speakers also highlighted a tradition of melodrama in eighteenth-century England, with roots reaching back to the genre of mad songs (Rooley), and inspired by English events (eg the Gordon Riots) as much as by the French Revolution (G. Taylor).
The persistence of monologue as a component of melodrama from the eighteenth century was demonstrated (Waeber), and it remained the locus of the most musically rich explorations of character/mood in Fibich’s stage melodramas at the end of the nineteenth century (Tyrrell). However, in early twentieth-century Germany there was a clear differentiation between melodrama and more psychologically rooted monodrama, informed by the culture of cabaret (Payette).
Technique
As a technique, melodrama is commonly understood to refer to musically accompanied recitation – already a step away from Rousseau/Coignet’s and Benda’s eighteenth-century practices of generally alternating music and speech. Papers explored the rich tradition of recitation in the early twentieth century, both in the domestic and commercial spheres (as cultivated by women in the US, Wilson Kimber, Smith) and in concert (as exemplified by Strauss’s concerts with Possart in London, Tunbridge). The voice was perceived variously as part of a soundtrack (in Resnais’s 1961 film L'Année Dernière à Marienbad, Waeber), as autonomous (in radio commercials and Hollywood film melodramas, Smith), or more specifically either as becoming music, with the exaggerated intonation patterns of the enunciating voice, or as resisting music, as speech and accompaniment continued on defiantly separate planes. In an operatic context, the voice’s materiality in its own right was explored (Cruz), and the affect of ephemeral virtuosity was set against material artificiality (Townley). An instrumental ‘reconstitution’ of voice in the afterlife of Schumann’s Träumerei (in a range of films and cartoons) was presented as a solution to the problems inherent in the sounding voice (Raykoff). In many of these papers, the tensions between music and text, instruments and voice were highlighted in what amounted to the negation of a Gesamtkunstwerk understanding of melodrama (Tunbridge).
Melodrama can also be understood as exemplifying a close – mimetic – relationship between music and gesture. However, several papers revealed an often loose – or even contradictory – relationship. During the early years of Pixérécourtian melodrama, a shift from static to highly choreographed tableaux, and music’s changing function in the drama can be traced (Astbury). Janacek’s practices more than a century later demonstrate ways in which music can contradict or occlude stage movement when it is attached to internal states of mind (Sheppard). Melodrama’s bodily influence via Italian opera can be seen in examples of 1940s Italian film in which natural, physical expression rather than techniques of editing shape the flow and pace of the drama (Bayman).
Melodrama’s musical topoi (a vocabulary of diminished 7ths, tremolo strings, etc, in passages of entrance/exit music, punctuation and underscoring) were discussed in many papers. Their survival in a 1939 musical version of the Wizard of Oz (Ford), and their relation to equally striking visual topoi in Powell and Pressburger’s Black Narcissus were identified (Sheil). And their creative contribution to a work’s dramatic and/or political meaning through parody, or through wilful mismatch of music and text/drama, was analysed (Raykoff, M. Taylor, Dean).
Aesthetic
Many papers addressed melodrama specifically as an aesthetic, and identified ways in which music negotiates between different temporal, imaginative, geographical and generic spaces – a characteristic of the earliest examples of melodrama (Waeber). Because of its non-specificity, music is capable of blurring distinctions – or easing the transition – between subject positions (who is thinking/speaking at a given moment), between real and imagined worlds (dreamed, remembered or experienced in the present), or between locations. For example, music negotiates between juxtaposed contrasting urban spaces and between otherwise non-communicating characters in a late nineteenth-century melodrama in London (Hicks), or even between (monumental) performance space and intimate human drama at the Fêtes romains at Orange in the 1890s (Olin). Equally, music can render the diffuse narrative of a silent film coherent without oversimplifying it (Goodwin). Music can however create distance and rupture by its very artificiality in a drama (G. Taylor), while silence can allow realism to intrude (Hicks).
Music can also work across different genres and different ideologies. The inherent tension between popular and elite culture was evident in the critical responses to hybrid works (an opera borrowing musical techniques associated with popular melodrama, Hibberd). But a number of speakers revealed ways in which melodrama in its ‘popular’ guise became an important influence not only on romanticism, but also on constructions of modernism – both in opera (1920s Germany, Nielsen) and in the symphony (notably Mahler, Barham).
Music’s evocative relationship with the physical world in melodrama is exemplified in Berlioz’s Roméo et Juliette, in which the score alludes to other musical genres (which in turn relate to the body – including opera, dance) and to specific performances of Shakespeare’s play in Paris (Anger). It can effectively suggest ‘imaginary’, ‘internal’ or ‘virtual’ theatre to the listener (Barham, Anger), or conversely encourage a ‘visualisation of music’ on the part of film-makers or dramatists (Higgins). By extension, music can convey political meanings by association which intensify the emotional affect, often evoking memories of real events – with quotations of known melodies (Republican resistance in Northern Ireland, Anderson), or with the intrusion of brutal, graphic music that can be understood as standing for the authorities in the aesthetic of shock that characterised Parisian melodrama and opera in the 1820s and 30s (Hesselager).
Music can thus manipulate the audience into a particular understanding of a situation, or even act as a transgressive agent, disrupting the narrative altogether (Waeber). For these reasons, it is perhaps more fruitful to understand melodrama as an aesthetic of moments rather than a narrative type (Carli), and to focus on the experience of such moments – on the ‘how’ rather than the ‘what’ (Carli, Bayman).
Conference programme and abstracts.