In the past decade the National Theatre has presented two restagings of earlier productions, now featuring an onstage orchestra (the Southbank Sinfonia) that has been choreographed and made a key part of the spectacle: Every Good Boy Deserves Favour, by Tom Stoppard, with a musical score by André Previn, performed in 2009 and 2010, and Peter Shaffer’s Amadeus, performed in 2016 and 2018. Contemporaneously, a vanguard of British orchestras has begun to explore how concerts can be presented in ways that are more theatrically sophisticated than the standard concert format. Here Adrian Curtin investigates ‘orchestral theatre’ as an aesthetic proposition by examining the collaborations between the Southbank Sinfonia and the National Theatre, and their legacy in a series of experimental concerts staged by the Southbank Sinfonia entitled #ConcertLab. He aims to identify the artistic and cultural significance of these collaborations and #ConcertLab so as to better understand contemporary efforts to present orchestras (and, more broadly, classical music) in a theatrically innovative manner. Adrian Curtin is a senior lecturer in the Drama Department at the University of Exeter. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and Death in Modern Theatre: Stages of Mortality (Manchester University Press, 2019), and principal investigator of the AHRC research network ‘Representing “Classical Music” in the Twenty-First Century’.

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管弦剧院和作为表演实验室的音乐会

在过去的十年里，国家剧院已经对早期作品进行了两次重演，现在以舞台上的管弦乐队（南岸交响乐团）为特色，该管弦乐队经过精心编排并成为演出的关键部分：每个好孩子都值得被宠爱，由汤姆·斯托帕德（Tom Stoppard）创作，安德烈·普雷文（André Previn）配乐，于 2009 年和 2010 年演出，以及彼得·谢弗（Peter Shaffer）的艾玛迪斯，于 2016 年和 2018 年演出。与此同时，英国管弦乐团的先锋已经开始探索如何以比标准音乐会形式更具有戏剧性的方式呈现音乐会。在这里，Adrian Curtin 通过考察南岸交响乐团和国家剧院之间的合作以及他们在南岸交响乐团举办的题为#ConcertLab 的一系列实验音乐会中的遗产，将“管弦剧院”作为一种美学命题进行调查。他旨在确定这些合作和#ConcertLab 的艺术和文化意义，以便更好地理解当代以戏剧创新的方式呈现管弦乐队（以及更广泛地说，古典音乐）的努力。Adrian Curtin 是埃克塞特大学戏剧系的高级讲师。他是作者前卫剧院声音：上演声音现代性（帕尔格雷夫，2014）和现代戏剧中的死亡：死亡阶段（曼彻斯特大学出版社，2019 年），AHRC 研究网络“代表二十一世纪的“古典音乐””的首席研究员。