Abstract
A privileged position in discourse on 19th-century opera is occupied by narration concerning the emancipation of national styles. In order to work out a fresh approach in scientific study of this subject, it seems crucial that we should abandon the ethnocentric perspective. This was one of the main postulates of Jean-Marie Pradier’s utopian project of ethnoscenology. Importantly, Pradier also stressed the physical aspect of all stage practice. In the times of Rossini, Verdi, Gounod and Moniuszko, the physicality of the spectacle was associated not only with singing, but also with choreography. The links between 19th-century opera and its broadly conceived dance component are the subject of a highly inspiring essay by Maribeth Clark, whose arguments, theses and conclusions we also present here in detail.
Stanisław Moniuszko’s operatic style is commonly associated with Polish dance rhythms. Still, salon dance should also be considered, apart from national dances, as one of the keys to the composer’s entire oeuvre. In a study of his stage works from both the Vilnius and the Warsaw periods, the dance idiom will not be limited to the presence of dance rhythms in the protagonists’ arias or to the ballet sections. Dance qualities can be discerned in Moniuszko’s music on a much deeper, fundamental level of the construction of operatic narration. Dance is frequently a hidden mechanism that serves as an axis of development for the presented events or as an element that organises the dramaturgy of entire scenes and instrumental passages.
This paper is an attempt to take a fresh look at the role of the dance idiom in Moniuszko’s operatic narrations, an initial reconnaissance, in which I point to the sources of the composer’s inspirations and illustrate my theses with specific examples.