LEADER 03519nam 2200589I 450 001 9910978250303321 005 20231207032734.0 010 $a9780472904303 010 $a0472904302 024 7 $a10.3998/mpub.12081134 035 $a(CKB)5690000000423284 035 $a(MiU)10.3998/mpub.12081134 035 $a(MiAaPQ)EBC31893943 035 $a(Au-PeEL)EBL31893943 035 $a(OCoLC)1412383044 035 $a(MdBmJHUP)musev2_133547 035 $a(ODN)ODN0011588472 035 $a(ScCtBLL)84a9ee47-fbb8-4ec1-8e1a-356af5c46674 035 $a(EXLCZ)995690000000423284 100 $a20231207h20242024 uy 0 101 0 $aeng 135 $auruna|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aOpera for everyone $ethe industry's experiments with American opera in the digital age /$fMegan Steigerwald Ille 205 $a1st ed. 210 1$aAnn Arbor, Michigan :$cUniversity of Michigan Press,$d2024. 210 4$dİ2024 215 $a1 online resource (1 volume $cillustrations) 300 $aTitle from eBook information screen.. 311 08$a9780472056644 311 08$a0472056646 311 08$a9780472076642 311 08$a0472076647 320 $aIncludes bibliographical references (pages 259-273) and index. 327 $aOpera as Mobile Music : Invisible Cities -- Operatic Economics : Liveness and Labor in Hopscotch -- Experiments with Institutionality : Galileo, War of the Worlds, and ATLAS -- "What You Remember Doesn't Matter" : Toward an Anticolonial Opera. 330 3 $aOpera for Everyone: The Industry's Experiments with American Opera in the Digital Age draws on seven years of multi-sited ethnography to examine the acclaimed experimental productions of Los Angeles-based opera company The Industry. Steigerwald Ille understands The Industry's productions as part of an emerging wave of U.S. operas that integrate new media and interactive performance through means such as site-specificity and simulcast video, and then traces the company's path from Crescent City (2012), the company's first production, to Sweet Land (2020), the company's final production before switching to a new production model. Steigerwald Ille argues that by moving opera outside of the opera house, The Industry's productions expose the economic and aesthetic structures key to the circulation of operatic performance at the same time that they deploy opera as a tool for digital listening, community engagement, popular entertainment, and commentary on systemic racism and settler colonialism. Through ethnographic work with The Industry's creators and performers, and close examination of the company's first decade of work, this book reveals how The Industry paradoxically provides both a roadmap and boundary line for experimental and traditional companies trying to find new ways to approach operatic performance in the twenty-first century United States. 606 $aOperas$xPerformances$xSocial aspects$zUnited States 606 $aOpera$xProduction and direction 615 0$aOperas$xPerformances$xSocial aspects 615 0$aOpera$xProduction and direction. 676 $a782.109794/94 686 $aMUS028000$aPER000000$2bisacsh 700 $aSteigerwald Ille$b Megan$f1987-$01789163 712 02$aMichigan Publishing (University of Michigan), 801 0$bEYM 801 1$bEYM 906 $aBOOK 912 $a9910978250303321 996 $aOpera for everyone$94324567 997 $aUNINA