Performance and Interpretation

The sources of our research, on the one hand, are texts related to performance in a broader sense, such as libretti, stage design sketches, scores, mise en scène booklets or choreographies, and, on the other hand, traces of performances such as early recordings, set scores, stage sets and machinery, cast lists or performance reviews.

Our current idea of interpretation in the sense of an individual evaluation is by no means self-evident in historical research. Concepts of interpretation are linked to ideas of fidelity to the work, authorship and artistic freedom and, like these, are subject to historical change. Our research therefore also asks on which ideas of text and its realisation historical performances are based.

Performance methods are strongly characterised by their actors. The idea of a sole interpreting authority in the form of a conductor or director is historically rather the exception; collaborative performances based on joint decisions or the division of tasks between authors, composers, musicians, actors and dancers are more common. Researching the actors of interpretation is therefore an important part of our research.