Audio-visual Collisions: Moving Image Technology and the Laterna Magika Aesthetic in New Music Theatre

Rogers, Holly. 2019. Audio-visual Collisions: Moving Image Technology and the Laterna Magika Aesthetic in New Music Theatre. In: Robert Adlington, ed. New Music Theatre in Europe: Transformations Between 1955-1975. Abingdon: Routledge, pp. 79-100. ISBN 9781138323018 [Book Section]

[img] Text
Rogers%2c Audio-Visual Collisions.docx - Accepted Version
Available under License Creative Commons Attribution Non-commercial.

Download (89kB)

Abstract or Description

Many early music theatre works, embraced topics similar to the neo-realist cinema, its audiovisual aesthetics were very different from the smooth textures and structural and immersive cohesion of narrative film. Mainstream film, including that in the neo-realist tradition operates through an audiovisual flow so tightly synchronised as to engender a filmic illusion of unity and realism through discrete editing that effaces its materiality, as can be seen in the paradoxical audiovisual flow of Bicycle Thieves. In attempting to embody and substantiate intolerance, then, the Boston Intolleranza privileged artistic collision by highlighting its media specificity; the edges of each discipline were left in full view, frayed and angular, enabling the ‘confrontation of selected realities’ desired by Josef Svoboda. While hyper-immersive gestures have become relatively normalised, when moving image technology first entered the musical stage during the 1960s, it operated as a radical intervention not only into traditional theatrical gesture, but also into conventional modes of operatic and dramatic consum.

Item Type:

Book Section


new music theatre, avant-garde art, laterna magika, audiovisuality

Departments, Centres and Research Units:



2 April 2019Published

Item ID:


Date Deposited:

24 Apr 2017 12:21

Last Modified:

09 Mar 2021 12:56


View statistics for this item...

Edit Record Edit Record (login required)