Description du projet
La place de l’opéra dans un monde numérique
Les amateurs d’opéra voient-ils cet art sous un nouvel œil? Aujourd’hui, les interactions entre le public et les théâtres se font dans une large mesure via des plateformes en ligne et des médias numériques. La pandémie de COVID-19 a rendu le fossé entre la scène et l’écran encore plus flou. En se concentrant sur les amateurs d’opéra contemporain, le projet OPANDA, financé par l’UE, envisage sous un nouvel angle les pratiques passées du public tout en réfléchissant à celles de demain. L’étude est basée sur une analyse comparative et qualitative d’études de cas représentatives, combinant l’ethnographie numérique sur les communautés web et les revues indépendantes autour de l’opéra, l’observation participante dans des compagnies d’opéra (telles que le Teatro alla Scala de Milan et l’Opéra national de Paris), et des entretiens avec des amateurs et des professionnels de l’opéra.
Objectif
Today, interactions between audiences and theatres occur to a significant extent via online platforms and digital media. OPANDA studies the impact of these transformative technologies on opera fandom. Although recent research has addressed the digital dissemination of opera, the phenomenon of cyber-fandom remains under-researched. Situated at the intersection of musicology, sociology and media studies, the project asks how opera fans perform their passion digitally. This entails the investigation of their interactions on the web, but the project also considers how cyber-fandom intersects with traditional fan behaviour. In a post-pandemic and hyper-mediatised society in which the divide between stage and screen is constantly blurred, the project reconsiders past audience practices and envisions possible future ones.
OPANDA aims at providing a pioneering study of today’s opera fans (i.e. the most active operagoers), including their digital practices and communities. To reach this goal, OPANDA is based on a comparative and qualitative analysis of representative case studies, combining digital ethnography on web communities and fanzines, participant observation at opera companies (La Scala, Paris Opera, the New York Metropolitan Opera), and interviews with fans.
Dr Nicolò Palazzetti (Researcher) is well placed to carry out this research thanks to an outstanding background in musicology and sociology, and a solid expertise in performing ethnography among opera fans. By situating his project at Sapienza University of Rome, he advances his career in new directions. He has the key opportunity to work with Prof. Emanuele Senici (Supervisor), a prominent opera scholar specialising in opera and media, and with Prof. Romana Andò (co-supervisor), an expert in fan studies. A training-based secondment at the Digital Ethnography Research Centre in Melbourne and a dissemination-based secondment at the Music Department of Yale University support the achievement of the project.
Champ scientifique
Programme(s)
- HORIZON.1.2 - Marie Skłodowska-Curie Actions (MSCA) Main Programme
Régime de financement
MSCA-PF - MSCA-PFCoordinateur
00185 Roma
Italie