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The present dissertation aims at proving the existence of a solid relationship between the opera and the popular culture by exploring and systematizing the specific fields of collaboration between the two. The hypothesis that the opera is unfairly and unjustifiably defined as an elitist and exclusive cultural form and a reserved territory for a limited elitist circle is complemented by the identification and analysis of personal images of opera singers having reached celebrity status formed as a result of the mutual penetration between the elite art and the forms of mass culture. Although the sacralization of opera and its image, closely linked to associations of elitism and inaccessibility, place it in the position of an ultimate aesthetic contrast to the forms of popular culture, the research proves that this opposition has been overcome by the mediation of the media that facilitate the change of the image of the opera and its popularization, transforming it into a new hybrid cultural form - a mediated opera bearing the prestige of the high art, but also the accessibility of a product of the cultural industry. This seemingly paradoxical relationship leads to the democratization of the opera, allowing a larger audience to get to know this art outside the social boundaries of the sacred, closed and privileged space of the opera theatre - a process that follows a more general trend of blurring the boundaries between elite and popular art.
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