Studies in Literature and Culture
Edited By Grzegorz Czemiel, Justyna Galant, Anna Kędra-Kardela, Aleksandra Kędzierska and Marta Komsta
In the (Neo)Baroque Universe of Looped Voices: Lanford Wilson’s Fugue Spectacle in The Hot l Baltimore
← 288 | 289 →Agnieszka Matysiak
While discussing his theory of “attraction” [gravitación],1 Eugenio d’Ors explicates that
it works by positing that in the series of art forms – music, poetry, painting, sculpture, architecture – each medium occupies an unfixed position and, depending on the times, trends and artists, tends to adopt the characteristics of the neighboring art form. Thus, in classical periods, music becomes poetic, poetry graphic, painting sculptural, and sculpture architectural. In Baroque periods,2 the attraction works in the opposite direction; the architect sculpts, sculpture paints, and painting and poetry take on music’s dynamic tones. Since all Baroque style tends toward pantheism,3 all Baroque calligraphy4 tends toward music.(2010, 85)
That confluence of scholarly discourses and their mutual pervasiveness seem to make any endeavors to separate the respective art forms utterly impossible. Therefore, being one of the most significant components of the Baroque aesthetics that ← 289 | 290 →encompasses the objectives of both science and art, it is music, d’Ors asserts, that is to be considered the phenomenon “of time in which the role of movement is of utmost importance, [since] it obeys gravity in its own way, [whereas] architecture can only depart so much from its necessarily static mode of visual representation” (2010, 85). That mutual pervasiveness of time and movement endows music with distinctive cohesion and coherence, which thus make it an absolutely unique form of art. Since Baroque architecture is embedded in the monumental, yet dramatic, stillness, thus it is music that is able to transcend...
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