Zauberflöte o La Flauta Mágica de Wolfgang Amadeus Mozart: Una aproximación a su contenido mitológico y simbólico
2006; Uiversidad Nacional de La Plata; Volume: 10; Issue: 10 Linguagem: Inglês
ISSN
1851-1724
Autores Tópico(s)Cultural and Mythological Studies
ResumoespanolLa Flauta Magica, estrenada en Viena en septiembre de 1791, es la ultima opera del gran musico austriaco, quien muere unos meses mas tarde. El texto de esta obra, escrito por Emanuel Schikaneder, tambien actor y propietario del teatro (Freihaustheater) donde se representa por primera vez, combina el caracter de cuento para ninos dramatizado segun la tradicion del teatro popular vienes, con sus personajes 'buenos' y 'malos' y de misterio o rito escenico en que se representan los valores e ideales humanistas de la Ilustracion preconizados por la masoneria, institucion a la que pertenecian los autores. Por la complejidad de su contenido, la opera ha merecido numerosas interpretaciones. En este articulo se destacan las de orientacion psicoanalitica: segun Erwin Ringel, quien pone de relieve el contenido humanista de la obra y la ensenanza de que en todo ser humano existen aspectos positivos y negativos y segun Bernd Deinninger y Helmut Remmler quienes la caracterizan como la descripcion del transito del individuo hacia la constitucion de su personalidad adulta y la ubican en el marco del conflicto entre individuo e instituciones. En el articulo tambien se desarrollan los aspectos que remiten a la mitologia clasica, en especial la relacion con el mito de Orfeo. EnglishThe Magic Flute is the last opera Mozart composed, in 1791, some months before dying, on the 5th december. The text was written by Emanuel Schikaneder, who was at the same time an actor and the owner of the theater, called Freihaustheater in Wieden, in the outskirts of Vienna, where the first performance took place (september that year) . The text is a happy mixture of a tale of enchantment with 'good'and 'wicked' characters cherished by the viennese, and a scenic Mysterium which reflects the ideals of the age of Enlightment and masonic ideology. Both Mozart and Schikaneder belonged to a massonic lodge. The text, which is rather complex, has been subject to a great deal of analysis from different music critics, scene directors and music lovers. This article deals with a specific kind of interpretation: one based on psychoanalitical cathegories. By Erwin Ringel, a viennese psychoanalist, who focuses the analysis of the piece on its humanitarian message and the concept that every human being has traces of goodnes and evil in itself, and by Bernd Deininger and Helmut Remmel who analyze the analogy between the contents of the opera and the psychical evolution of the self and with the conflict among individual and institutions. The article includes an overview of the mithological contents implicit in the piece, specially the Orpheus myth.
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