Publication: Opera, cuando la tecnologta es Arte : el impacto de la holografía operística en la era digital
Authors
Ippolito, Fiorenza
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Escuela Internacional de Doctorado
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Santiago Godos, María Victoria
Publisher
Universidad de Murcia
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DOI
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info:eu-repo/semantics/doctoralThesis
Description
Abstract
Desde su nacimiento en el siglo XVII, la ópera ha sido una forma de arte profundamente ligada a los avances técnicos y tecnológicos de cada época. La evolución de los escenarios, la iluminación, la maquinaria escénica y los efectos especiales ha acompañado siempre la transformación del espectáculo operístico, integrando innovaciones que reflejan el espíritu de su tiempo. Hoy, en plena era digital, esta relación se intensifica, dando lugar a nuevas formas de creación artística y de experiencia perceptiva que preservan, en cada una de sus partes, el significado del todo. Introducimos este concepto bajo el término HOLO, que, consolidado plenamente en la década de 1990, abre una forma contemporánea de interpretación y redefine la noción misma de presencia escénica en VIVO. Exploramos cómo se transforman los procesos creativos, el paradigma teatral, la percepción del público y el propio concepto de técnico y de autoría.
En este contexto, la ópera enfrenta un desafío crucial: mantener su esencia humanista mientras integra los nuevos lenguajes tecnológicos. Como señala Barbieri (2017), herramientas como la holografía, el videomapping o la retroproyección interactiva han modificado no solo la escenografía, sino también las estructuras narrativas y performativas. Hoy la tecnología escénica no es un complemento visual, sino un componente esencial del lenguaje operístico.
Esta transformación permite a artistas, directores y escenógrafos experimentar con nuevas gramáticas visuales, donde lo virtual se entrelaza con los elementos materiales: la luz, el vestuario y la maquinaria escénica. Desde los sistemas robotizados del Teatro Real de Madrid hasta espacios experimentales más pequeños, surge una noción ampliada de realidad escénica que genera experiencias inmersivas y multisensoriales, alterando la percepción del arte teatral y musical.
Desde los inicios del siglo XX hasta la consolidación de la holografía entre las décadas de 1960 y 1990, la relación entre arte y tecnología ha impulsado una reconfiguración del espectáculo operístico. Aunque el público ha respondido con entusiasmo, persisten estructuras jerárquicas que dificultan la integración de estas innovaciones. La investigación muestra que expertos tecnológicos y creadores coinciden en la necesidad de actualizar la legislación, los modelos de colaboración y el reconocimiento de nuevas profesiones vinculadas a la producción digital.
En el ámbito académico, este estudio impulsa la formación de perfiles profesionales capaces de responder a los desafíos de la era digital. La ópera, entendida como empresa cultural, deja de ser solo una manifestación artística para convertirse en un sistema sostenido por una red interdisciplinar de especialistas. Sin embargo, muchos de estos agentes operan dentro de marcos normativos obsoletos, lo que evidencia la urgencia de redefinir los paradigmas institucionales de la práctica escénica contemporánea.
El diseño metodológico articula tres enfoques: el positivista, para el análisis cuantitativo; el fenomenológico, centrado en la experiencia subjetiva; y el empírico-constructivista, basado en el estudio de casos. Esta triangulación combina información objetiva y comprensión contextual, ofreciendo una visión más completa del fenómeno.
Dirigida por la Dra. Victoria Santiago Godos, esta investigación examina cómo la digitalización y las innovaciones tecnológicas, especialmente la holografía, están redefiniendo la creatividad en la ópera contemporánea. Se propone entender la tecnología no como una herramienta externa, sino como una extensión creativa del pensamiento artístico que transforma la autoría, la práctica técnica y la colaboración interdisciplinar.
En los nuevos vientos que transforman nuestro hacer reside la belleza de un arte vivo. En la intersección entre arte y tecnología surge la urgencia de ofrecer una visión poética y científica de la técnica y de la creación. Por ello, resulta coherente con este cambio de era establecer pautas académicas con fundamento científico que orienten el futuro de la práctica escénica y tecnológica en la ópera.
Since its emergence in the seventeenth century, opera has been an art form profoundly intertwined with the technical and technological advancements of each era. The evolution of stage design, lighting, scenic machinery, and special effects has consistently accompanied the transformation of operatic performance, integrating innovations that reflect the cultural and scientific spirit of their time.In the digital age, this relationship has intensified, giving rise to new modes of artistic creation and perceptual experience that preserve, within each part, the meaning of the whole. This study introduces the concept of the HOLO, consolidated in the 1990s, as a contemporary paradigm of interpretation that redefines the very notion of stage presence and the LIVE experience.This doctoral research examines the impact of holography and digital technologies on contemporary opera, analyzing how they transform creative processes, theatrical paradigms, audience perception, and the conceptual frameworks of authorship and technical agency. In this context, opera faces a crucial challenge: preserving its humanistic essence while embracing technological innovation. As Barbieri (2017) observes, tools such as holography, video mapping, and interactive rear projection have reshaped not only scenography but also narrative and performative structures. Stage technology is no longer a mere aesthetic complement but a structural component of the operatic language in the digital era.This transformation enables artists, directors, and designers to explore new visual and symbolic grammars, merging virtual environments with material stagecraft from the sophisticated infrastructure of Madrid's Teatro Real, with its forty seven levels and sixteen meters below stage level, to more experimental spaces thus creating multisensory experiences that profoundly alter the perception of theatrical and musical art.From the early twentieth century through the development and consolidation of holography between the 1960s and 1990s, technological innovation has profoundly reshaped the operatic medium. Although audiences have enthusiastically embraced these changes, traditional hierarchical and conceptual structures in stage art largely persist. The research identifies a consensus among technological and artistic experts on the urgent need to update legislation, collaborative models, and the recognition of emerging professional roles in digital stage production.Situated within the field of Fine Arts, this study advocates for the academic and scientific development of new professional profiles. Opera, as a cultural enterprise, is no longer solely an artistic manifestation but a complex cultural system sustained by a network of specialists who, despite adapting to digitalization, continue to operate within outdated conceptual and institutional frameworks.Given the complexity and multidimensionality of the phenomenon, the methodological design integrates three complementary epistemological approaches: a positivist framework for quantitative analysis, a phenomenological approach focused on subjective experience, and an empirical constructivist perspective grounded in case studies. This methodological triangulation produces both objective data and interpretive understanding, offering a comprehensive view of the impact of holographic and digital technologies on opera.Directed by Dr. María Victoria Santiago Godos, this pioneering theoretical research employs a mixed-method design to explore how digitalization and holographic innovation are redefining creativity in contemporary opera. Rather than conceiving technology as an external tool, the study interprets it as an extension of the artistic mind itselfengendering a transformation of technical practice and prompting a redefinition of authorship, collaboration, and artistic identity.In the new winds reshaping artistic practice lies the vitality of a living art. At the intersection of art and technology arises the need for both a poetic and scientific vision of creationone that establishes academically and epistemologically grounded frameworks to guide the future of scenic and technological practice in opera.
Since its emergence in the seventeenth century, opera has been an art form profoundly intertwined with the technical and technological advancements of each era. The evolution of stage design, lighting, scenic machinery, and special effects has consistently accompanied the transformation of operatic performance, integrating innovations that reflect the cultural and scientific spirit of their time.In the digital age, this relationship has intensified, giving rise to new modes of artistic creation and perceptual experience that preserve, within each part, the meaning of the whole. This study introduces the concept of the HOLO, consolidated in the 1990s, as a contemporary paradigm of interpretation that redefines the very notion of stage presence and the LIVE experience.This doctoral research examines the impact of holography and digital technologies on contemporary opera, analyzing how they transform creative processes, theatrical paradigms, audience perception, and the conceptual frameworks of authorship and technical agency. In this context, opera faces a crucial challenge: preserving its humanistic essence while embracing technological innovation. As Barbieri (2017) observes, tools such as holography, video mapping, and interactive rear projection have reshaped not only scenography but also narrative and performative structures. Stage technology is no longer a mere aesthetic complement but a structural component of the operatic language in the digital era.This transformation enables artists, directors, and designers to explore new visual and symbolic grammars, merging virtual environments with material stagecraft from the sophisticated infrastructure of Madrid's Teatro Real, with its forty seven levels and sixteen meters below stage level, to more experimental spaces thus creating multisensory experiences that profoundly alter the perception of theatrical and musical art.From the early twentieth century through the development and consolidation of holography between the 1960s and 1990s, technological innovation has profoundly reshaped the operatic medium. Although audiences have enthusiastically embraced these changes, traditional hierarchical and conceptual structures in stage art largely persist. The research identifies a consensus among technological and artistic experts on the urgent need to update legislation, collaborative models, and the recognition of emerging professional roles in digital stage production.Situated within the field of Fine Arts, this study advocates for the academic and scientific development of new professional profiles. Opera, as a cultural enterprise, is no longer solely an artistic manifestation but a complex cultural system sustained by a network of specialists who, despite adapting to digitalization, continue to operate within outdated conceptual and institutional frameworks.Given the complexity and multidimensionality of the phenomenon, the methodological design integrates three complementary epistemological approaches: a positivist framework for quantitative analysis, a phenomenological approach focused on subjective experience, and an empirical constructivist perspective grounded in case studies. This methodological triangulation produces both objective data and interpretive understanding, offering a comprehensive view of the impact of holographic and digital technologies on opera.Directed by Dr. María Victoria Santiago Godos, this pioneering theoretical research employs a mixed-method design to explore how digitalization and holographic innovation are redefining creativity in contemporary opera. Rather than conceiving technology as an external tool, the study interprets it as an extension of the artistic mind itselfengendering a transformation of technical practice and prompting a redefinition of authorship, collaboration, and artistic identity.In the new winds reshaping artistic practice lies the vitality of a living art. At the intersection of art and technology arises the need for both a poetic and scientific vision of creationone that establishes academically and epistemologically grounded frameworks to guide the future of scenic and technological practice in opera.
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