Ron Moore, creator and producer of the reimagined Battlestar Galactica television series, outlined his proposed show's aesthetic in a manifesto aptly titled “Naturalistic Science Fiction or Taking the Opera out of Space Opera.” The title of this essay took a stand against the science fiction subgenre of space opera, asserting that it was outdated, overdone, and unrealistic. Moore's vision for his series revolutionized iconic elements of classic television space operas. Though Moore resisted the stigma of space opera, his reimagined series holds an inherent “operaticness”—a term first coined by opera scholar Marcia Citron. Battlestar Galactica has many operatic qualities, particularly in its narrative structure, cinematography, characters, and music. After analyzing Galactica's explicit evocations of opera, this article will explore the operatic features of the soundtrack and evaluate the characters intimately tied to the opera by tracing the tropes of gendered opera as outlined by Susan McClary and Catherine Clément. Through a detailed analysis of three episodes, I will demonstrate how Moore successfully constructed a series that relied deeply upon operatic qualities and resonances.

中文翻译：

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太空堡垒卡拉狄加和太空歌剧：转变一个子流派

Ron Moore，重新构想的创造者和制作人太空堡垒卡拉狄加电视连续剧，在题为“自然主义科幻小说或将歌剧从太空歌剧中带出”的宣言中概述了他提议的节目的美学。这篇文章的标题反对太空歌剧的科幻子流派，断言它已经过时、过度和不切实际。摩尔对他的系列的设想彻底改变了经典电视太空歌剧的标志性元素。尽管摩尔抵制了太空歌剧的污名，但他重新构想的系列具有内在的“歌剧性”——这是歌剧学者玛西娅·西特龙首先创造的一个术语。太空堡垒卡拉狄加具有许多歌剧特质，特别是在叙事结构、摄影、人物和音乐方面。分析后卡拉狄加的本文将探索配乐的歌剧特征，并通过追踪苏珊麦克拉里和凯瑟琳克莱门特概述的性别歌剧的比喻来评估与歌剧密切相关的角色。通过对三集的详细分析，我将展示摩尔如何成功地构建了一个深深依赖于歌剧品质和共鸣的系列。