Descrizione del progetto
Il posto dell’opera nel mondo digitale
Le modalità con cui gli amanti dell’opera si relazionano a questa forma artistica sono cambiate? Al giorno d’oggi le interazioni tra il pubblico e il teatro si verificano in misura significativa tramite piattaforme online e mezzi di comunicazione digitali. La pandemia di COVID-19 ha reso ancor più confusa la linea di divisione tra il palcoscenico e lo schermo. Concentrando l’attenzione sul panorama contemporaneo degli amanti dell’opera, il progetto OPANDA, finanziato dall’UE, rivede le pratiche relative al pubblico del passato immaginando al contempo quelle future. Lo studio, che si basa su un’analisi comparativa e qualitativa di casi di studio rappresentativi, combina etnografia digitale su comunità e riviste amatoriali basate sul web, osservazione dei partecipanti presso le compagnie d’opera (quali il Teatro alla Scala di Milano e l’Opéra national di Parigi) e interviste con amanti e professionisti dell’opera.
Obiettivo
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.
Campo scientifico
Programma(i)
- HORIZON.1.2 - Marie Skłodowska-Curie Actions (MSCA) Main Programme
Meccanismo di finanziamento
MSCA-PF - MSCA-PFCoordinatore
00185 Roma
Italia