Challenges in the performance of musical comedies
Artistic presentation and PhD defence of 'La Grande Bouffe - challenges in the performance of musical comedies' by Stijn Saveniers, conducted between 2020 and 2025 within the research group LABO XIX&XX at the Royal Conservatoire Antwerp (AP University of Applied Sciences and Arts Antwerp) and ARIA (University of Antwerp).
PROGRAMME
| 19:00 | Doors open |
| 19:30 - 20:15 | Research Presentation |
| 20:15 - 21:30 | Question and deliberation |
| 21:30 - 23:30 | Results, speeches and reception |
JURY
Adam Benzwi, Annelies Van Parys, Bart Moens, Nele Wynants (chair), Marlies De Munck, Bart Eeckhout, Frank Agsteribbe
ABSTRACT
This study examines the mechanisms and effectiveness of musical humour within the genre of operetta, with the aim of identifying the intrinsic characteristics and structural elements that contribute to its comic effect. As existing analytical methods proved inadequate in capturing the complexity of musical humour in this genre, a tailor-made analytical framework was developed. Inspired by constructivist principles, this method provides a systematic approach to analysing humorous elements in musical compositions and performances.
At the core of this research is the development of a taxonomy of ‘musical humour techniques,’ which categorises and analyses a wide range of compositional and performance-related aspects. This taxonomy offers a thorough and detailed classification of techniques that contribute to the comic construction of operetta.
To validate the taxonomy and the analytical method, three case studies are examined in detail: La Périchole (Offenbach), Une Ruse de Pierrette (Dell’Acqua), and Brueghelkermis (Kennes). These case studies span diverse historical and cultural contexts, thereby assessing the applicability and versatility of the proposed analytical method across various operetta repertoires. The comparative analysis of these works provides valuable insights into compositional strategies and performative choices that enhance the humorous effect within the genre.
Through this systematic approach, the study contributes to the scholarly discourse on musical humour and offers a novel perspective on the performance of operetta repertoire. The research highlights the unique dramaturgical role of music in comic contexts and underscores the importance of performative awareness in the interpretation of musical humour.
Photo: (c) Björn Comhaire