Work on this article began as a contribution to a wider discussion of twentieth-century music theatre, and in particular a genre in the category of twentieth-century musical monodramas – one-act staged monologues with, or in music for, one performer.1My current research focuses on the genesis and performance tradition of works composed for solo female singer, and raises questions about the creative agency of the performer in the making of such works, reflecting on matters such as subjectivity, voice, and identity.2If this outlook may slightly drift from a conventional narrative springing from the composer's voice, a critical investigation of the collaborative process foregrounding the genealogy of some of these works is compelling, especially since every composer who embarked on this ‘genre’, or compositionaltopos, inflected it in idiosyncratic ways. In works such asErwartung,La Voix humaine,The Testament of Eve,Neither, andLa machine de l’être, the performative voice of the female soloist to whom the work was tailored became a generative element capable of shaping the formal, musical, and dramaturgical material.3Examination of selected case studies, focusing especially on the creative and performative processes surrounding these works, triggers an array of questions about gender politics. More importantly, transversal insight into the making of these works and their performativity reveals the interconnected nature of the two phases of creation and performance. In musical monodrama, more than in larger forms of music theatre, the two processes interweave and depend on each other; reconstructing the performative genealogy of the ‘work’ reveals an intrinsic impasse in the very notion of the musical ‘text’ associated exclusively with the compiled score and its literary sources.

中文翻译：

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独奏会 I（为凯茜）：戏剧“通过声音”

本文的工作始于对 20 世纪音乐剧的更广泛讨论的贡献，特别是 20 世纪音乐独角剧类别中的一种类型——与一位表演者或在音乐中为一位表演者表演的独白。1我目前的研究重点是为女歌手创作的作品的起源和表演传统，并提出关于表演者在创作此类作品中的创造性机构的问题，反思主体性、声音和身份等问题。2如果这种观点可能与作曲家声音所产生的传统叙事略有不同，那么对突出其中一些作品谱系的协作过程进行批判性调查是令人信服的，特别是因为每一位从事这种“流派”或作曲的作曲家拓扑，以特殊的方式改变它。在诸如厄尔瓦通,人间之声,夏娃的遗嘱,两者都不， 和生命机器，为作品量身定制的女性独奏者的表演声音成为能够塑造正式、音乐和戏剧材料的生成元素。3检查选定的案例研究，特别关注围绕这些作品的创造性和表演过程，引发了一系列关于性别政治的问题。更重要的是，对这些作品的制作及其表演性的横向洞察揭示了创作和表演两个阶段的相互关联性。在音乐独角戏中，比在大型音乐剧形式中更多的是，这两个过程相互交织并相互依赖。重建“作品”的表演谱系揭示了音乐“文本”概念本身的内在僵局，该概念仅与汇编乐谱及其文学来源相关联。