Ópera e Fonografia

da Cineópera ao Streaming

Abstract

The present article aims to discuss the concept of phonography, as defined by Brown (2000), and its relationship with opera, namely with operatic productions in relation to the audiovisual format. To this end, we seek to define the concept of cinemopera, according to the bases outlined by Chandler (2012) and Citron (2010) and trace its adaptive path to contemporaneity through the format of distribution via streaming, a practice that will be taken according to Spilker and Colbjørnsen (2020). As an approach to substantiate the emergence of the cinemopera, it is assumed as theoretical reference the studies of Benjamin (1969) about the emergence of cinema and technical reproducibility.