DIGITAL SCENOGRAPHY IN OPERA IN THE TWENY-FIRST CENTURY
LONDON: ROUTLEDGE | 2021/2022
Digital Scenography in Opera in the Twenty-First Century is the first definitive study of the use of digital scenography in Western opera production. The book begins by exploring digital scenography’s dramaturgical possibilities and establishes a critical framework for identifying and comparing the use of digital scenography across different digitally enhanced opera productions. The book then investigates the impacts and potential disruptions of digital scenography on opera’s longstanding production conventions, both on and off the stage. Drawing on interviews with major industry practitioners, including Paul Barritt, Mark Grimmer, Donald Holder, Elaine J. McCarthy, Luke Halls, Wendall K. Harrington, Finn Ross, S. Katy Tucker, and Victoria ‘Vita’ Tzykun, author Caitlin Vincent identifies key correlations between the use of digital scenography in practice and subsequent impacts on creative hierarchies, production design processes, and organisational management. The book features detailed case studies of digitally enhanced productions premiered by Dutch National Opera, Komische Oper Berlin, Opéra de Lyon, The Royal Opera, Covent Garden, San Francisco Opera, Santa Fe Opera, Théâtre Royal de la Monnaie, The Metropolitan Opera, Victorian Opera, and Washington National Opera.
Vincent, Caitlin, Amanda Coles, and Jordan Beth Vincent. Under Review (2021). "Opera-ting on inequality: Gender Representation in Creative Roles at The Royal Opera." https://doi.org/10.1080/09548963.2021.1966295
Johanson, Katya, Bronwyn Coate, Caitlin Vincent, and Hilary Glow. Under Review (2021). “Is there a ‘Venice Effect’? Participation in the Venice Biennale and the implications for artists’ careers.” https://doi.org/10.1016/j.poetic.2021.101619
Vincent, Caitlin, Hilary Glow, Katya Johanson, and Bronwyn Coate. Accepted 2021. “Who Did You Meet at the Venice Biennale? Education-to-Work Transition Enhancers for Aspiring Arts Professionals in Australia." Work, Employment and Society. https://doi.org/10.1177%2F09500170211004239
Johanson, Katya, Hilary Glow, Amanda Coles, and Caitlin Vincent. 2019. “Controversy, uncertainty and the diverse public in cultural diplomacy: Australia-China relations.” Australian Journal of International Affairs 73, no. 4: 397-413. https://doi.org/10.1080/10357718.2019.1632259
Vincent, Caitlin, and Jordan Beth Vincent. 2018. “Notation by Context: Digital Scenography as Artefact of Authorial Intent.” Leonardo Music Journal 28: 72-76. https://doi.org/10.1162/lmj_a_01044
Vincent, Caitlin, Jordan Beth Vincent, Kim Vincs, and Katya Johanson. 2017. “The Intersection of Live and Digital: New Technical Classifications for Digital Scenography in Opera.” Theatre and Performance Design 3, no. 3: 155-171. https://doi.org/10.1080/23322551.2017.1400764
Vincent, Jordan Beth, Caitlin Vincent, Kim Vincs, and John McCormick. 2016. “Navigating control and illusion: Interactivity versus ‘faux-interactivity’ in trans-media dance performance.” International Journal of Performance Arts and Digital Media 12, no. 1: 44-60. https://doi.org/10.1080/14794713.2016.1161955
Vincent, Caitlin. Pending 2022. “Staging a Loose Canon: Scripture, Tradition, and Embedded Exclusion in Opera Production.” The Classical Music Profession: Inequalities and Exclusions, edited by Christina Scharff, Anna Bull, and Laudan Nooshin. Oxford: Oxford University Press.
Vincent, Jordan, Caitlin Vincent, Scott deLahunta, John McCormick, and Kim Vincs. 2018. “Artwork spawning artwork: trans-disciplinary approaches to artistic spin-offs and evolution in the digital context.” Digital Echoes: Spaces for Intangible and Performance-based Cultural Heritage, edited by Sarah Whatley, 283-299. London: Routledge.