Gyorskeresés

Cím	Abstract	Folyóirat	Oldalszám
A Mozart-opera genezise II. Szöktetés a szerájból	-	1973., 14. évf. 1. szám	45. - 73.o
A Mozart-opera genezise. I. Az álruhás kertészlány	-	1972., 13. évf. 3. szám	264. - 278.o
A mûvészi nagyságról - A Klemperer-centenárium alkalmából	-	1985., 26. évf. 4. szám	335. - 346.o
A polgári mûvészet megítélésének kérdése : vita Maróthy Jánossal	-	1968., 9. évf. 3. szám	255. - 274.o
A polgári mûvészet megítélésének kérdése : vita Maróthy Jánossal II.	-	1968., 9. évf. 4. szám	361. - 382.o
A zenetörténetírás válaszútja : Szabolcsi Bence zenetörténeti mûveinek néhány tanulsága	-	1969., 10. évf. 2. szám	123. - 132.o
Egy antik »operajelenet« : a musiké Aischylos Agamemnónjának Kassandra-jelenetében	abs. An Antique »Scena« Géza Fodor Opera was born in 16th- and 17th-century Italy from the traditions of the pastorale but under the ideological pretext of resurrecting the antique tragedy. One of the core elements of this ideology was the misunderstanding originating from Girolamo Mei that antique tragedies were sung throughout. Even though musike that creates the unity of poetry, chant and dance and instrumental accompaniment was only represented by choruses and monodies, while dramatic dialogues and longer texts, the so-called rheses were recited, there really was such a formal unit of Greek tragedies in which the dialogue of the chorus and the actor and musike were joined, the amoibaion. It had two forms: one of them, the semilyric amoibaion was recited by one of the characters (mainly the actor) and sung and danced by the other (i.e. the chorus), the other, the purely lyric amoibaion was sung and danced by both the actor and the chorus. Agamemnon, the first piece of the only surviving Greek trilogy, The Oresteia by Aeschylus contains an interesting combination of these two types (lines 1072-1178). At the beginning of the 2. scene of epeisodion IV Cassandra, daughter of Trojan king Priam, and a slave of Agamemnon, using her prognostic power bestowed upon her by Apollo and immersed in a state of enthusiasmos for the god amidst the musike (singing and dancing accompanied by auloses) recalls in a series of visions the horrific past of the House of Atrides, its tragic present (the assassination of Agamemnon) and predicts her own fate. The leader of the chorus comprising 12 argive elders refuses to face the horrible truth and opposes Cassandraís enthusiasmos and musike with the sober and rational parlance, recital or ìproseî of the iambic trimester. Cassandraís four strophe-antistrophe pairs and the two lines of speech of the chorus leader as a response to the individual sections up to line 1113 form a semi-lyric amoibaion. However, Cassandraís exalted state of mind and the intensity of her musike gradually erodes the sobriety and rationality of the chorus, enraptures the elders and infects the whole chorus. After Cassandraís 5th strophe and antistrophe the leader of the chorus still keeps to the iambic trimester but the chorus of the remaining 11 elders adopts the atmosphere of the musike (the singing, dancing and the accompaniment of auloses). At this point the leader merges in the chorus, his unique parlance of iambic trimeters disappears. Cassandraís 6th and 7th pairs of strophe-antistrophe are followed by sections of musike of the full, 12-member chorus and after the transitional 6th pair of strophe-antistrophe the semi-lyric amoibaion is transformed into a purely lyric amoibaion. The study showed in detail that behind every change of the form and subject-matter of the text between lines 1072 and 1178 there is a twofold psychodrama, that of Cassandra and the argive elders. Aeschylus exploited the dramatic and theatrical opportunities of the musike worthily of a true genius.	2005., 43. évf. 1. szám	3. - 22.o
Hamlet: Dráma és opera : Szokolay Sándor bemutatott új mûvérõl [I. rész]	-	1969., 10. évf. 2. szám	172. - 182.o
Hamlet: Dráma és opera : Szokolay Sándor bemutatott új mûvérõl [II. rész]	-	1970., 10. évf. 3-4. szám	282. - 296.o
Melis György jubileumára : kísérlet	-	1975., 16. évf. 1. szám	85. - 93.o

An Antique »Scena«
Géza Fodor

Opera was born in 16th- and 17th-century Italy from the traditions of the pastorale but under the ideological pretext of resurrecting the antique tragedy. One of the core elements of this ideology was the misunderstanding originating from Girolamo Mei that antique tragedies were sung throughout. Even though musike that creates the unity of poetry, chant and dance and instrumental accompaniment was only represented by choruses and monodies, while dramatic dialogues and longer texts, the so-called rheses were recited, there really was such a formal unit of Greek tragedies in which the dialogue of the chorus and the actor and musike were joined, the amoibaion. It had two forms: one of them, the semilyric amoibaion was recited by one of the characters (mainly the actor) and sung and danced by the other (i.e. the chorus), the other, the purely lyric amoibaion was sung and danced by both the actor and the chorus. Agamemnon, the first piece of the only surviving Greek trilogy, The Oresteia by Aeschylus contains an interesting combination of these two types (lines 1072-1178). At the beginning of the 2. scene of epeisodion IV Cassandra, daughter of Trojan king Priam, and a slave of Agamemnon, using her prognostic power bestowed upon her by Apollo and immersed in a state of enthusiasmos for the god amidst the musike (singing and dancing accompanied by auloses) recalls in a series of visions the horrific past of the House of Atrides, its tragic present (the assassination of Agamemnon) and predicts her own fate. The leader of the chorus comprising 12 argive elders refuses to face the horrible truth and opposes Cassandraís enthusiasmos and musike with the sober and rational parlance, recital or ìproseî of the iambic trimester. Cassandraís four strophe-antistrophe pairs and the two lines of speech of the chorus leader as a response to the individual sections up to line 1113 form a semi-lyric amoibaion. However, Cassandraís exalted state of mind and the intensity of her musike gradually erodes the sobriety and rationality of the chorus, enraptures the elders and infects the whole chorus. After Cassandraís 5th strophe and antistrophe the leader of the chorus still keeps to the iambic trimester but the chorus of the remaining 11 elders adopts the atmosphere of the musike (the singing, dancing and the accompaniment of auloses). At this point the leader merges in the chorus, his unique parlance of iambic trimeters disappears. Cassandraís 6th and 7th pairs of strophe-antistrophe are followed by sections of musike of the full, 12-member chorus and after the transitional 6th pair of strophe-antistrophe the semi-lyric amoibaion is transformed into a purely lyric amoibaion. The study showed in detail that behind every change of the form and subject-matter of the text between lines 1072 and 1178 there is a twofold psychodrama, that of Cassandra and the argive elders. Aeschylus exploited the dramatic and theatrical opportunities of the musike worthily of a true genius.

Fodor Géza