Question 1: With reference to the texts of Kandinsky and Culler and Kattenbelt’s lecture explain to
what extent and in what way we can consider ‘On stage composition’ of Kandinsky as ‘theory’. What
might be the claim of her theory? What are the (kind of) questions this theory produces or evokes?
What are the common beliefs and ideas this theory calls into question? [max 250 words]
Question 2: With reference to the play The Yellow Sound discuss what role ‘disjunction’ plays in this
text? What do you observe in how the different elements the play is composed of (image,
movement, text) are related to one another? What kind of frictions do you perceive in the
composition Kandinsky proposes? Support your answer with concrete references to the text. [max
250 woorden]
Q1
‘On stage composition’ also aims to dispute a common sense of drama, ballet and opera.
The claims are to explain the difference between these different forms of art but also to
provide the similar origin of them all. Another claim is to differentiate the external and the
internal meaning of art. This theory produces questions such as whether we can still see
ballet as a deep form of art, how can we achieve the expression of internal means, and how
can we find the perfect balance between external and internal art. This theory calls into
question the well-established thought about the opera and ballet, that they are very elite
and high-art, while Kandinsky states that their use of elements disturbs them and makes
them almost meaningless.
Q2
Disjunction allows this play to have all the separately working elements, such as music, color
and movement.
Later, in complete silence, the flower begins to sway very slowly from right to left;
still later the leaf, but not together. Still later, both begin to sway in an uneven
tempo. Then again separately, whereupon a very thin B accompanies the
movement of the flower, a very deep A that of the leaf. Then both sway together
again, and both notes sound together. The flower trembles violently and then remains
motionless. In the music, the two notes continue to sound.
They are able to connect and then disconnect throughout the play. They can work
separately, then join in at some moments and start working together, and then once again
work separately, but already different. Such as when at first flower works with its music, and
leaf with its, and then later the music works separately from the flower, but together with
the other note. Some friction arises from these kinds of separations. You can not follow just
one element, all elements are unique and require attention.
In the orchestra, individual colors begin to stand out. Correspondingly, individual
figures stand up in different places: quickly, in haste, solemnly, slowly; and as they do
so, they look up. Some remain standing. Some sit down again. Then all are once
more overcome by exhaustion, and everything remains motionless.
what extent and in what way we can consider ‘On stage composition’ of Kandinsky as ‘theory’. What
might be the claim of her theory? What are the (kind of) questions this theory produces or evokes?
What are the common beliefs and ideas this theory calls into question? [max 250 words]
Question 2: With reference to the play The Yellow Sound discuss what role ‘disjunction’ plays in this
text? What do you observe in how the different elements the play is composed of (image,
movement, text) are related to one another? What kind of frictions do you perceive in the
composition Kandinsky proposes? Support your answer with concrete references to the text. [max
250 woorden]
Q1
‘On stage composition’ also aims to dispute a common sense of drama, ballet and opera.
The claims are to explain the difference between these different forms of art but also to
provide the similar origin of them all. Another claim is to differentiate the external and the
internal meaning of art. This theory produces questions such as whether we can still see
ballet as a deep form of art, how can we achieve the expression of internal means, and how
can we find the perfect balance between external and internal art. This theory calls into
question the well-established thought about the opera and ballet, that they are very elite
and high-art, while Kandinsky states that their use of elements disturbs them and makes
them almost meaningless.
Q2
Disjunction allows this play to have all the separately working elements, such as music, color
and movement.
Later, in complete silence, the flower begins to sway very slowly from right to left;
still later the leaf, but not together. Still later, both begin to sway in an uneven
tempo. Then again separately, whereupon a very thin B accompanies the
movement of the flower, a very deep A that of the leaf. Then both sway together
again, and both notes sound together. The flower trembles violently and then remains
motionless. In the music, the two notes continue to sound.
They are able to connect and then disconnect throughout the play. They can work
separately, then join in at some moments and start working together, and then once again
work separately, but already different. Such as when at first flower works with its music, and
leaf with its, and then later the music works separately from the flower, but together with
the other note. Some friction arises from these kinds of separations. You can not follow just
one element, all elements are unique and require attention.
In the orchestra, individual colors begin to stand out. Correspondingly, individual
figures stand up in different places: quickly, in haste, solemnly, slowly; and as they do
so, they look up. Some remain standing. Some sit down again. Then all are once
more overcome by exhaustion, and everything remains motionless.
