Fidelity
The term faithfulness describes the fidelity of a presentation or execution against the text, composition or template. This leads to the conflict that on the one hand the wording or musical text of the original work is followed, on the other hand the individuality of the respective performance (e.g. the interpretation) has an influence.
Some performances largely pursue the requirement to be faithful to the work, while there are also those that are performed freely . The intention of the presenter - in the case of stage works or films, that of the director - is decisive as to whether a lecture is closely related to the work or whether it is presented freely. Works that are tied to the maxim of adherence to the workmanship must not “falsify” it.
The opponents of the loyalty discussion argue that in the case of literature as well as a film or theatrical performance one should not speak of a completed work that remains as a traditional artifact. The focus is on the reception and perception process at the moment of reading, performance or demonstration, which is described as an event and does not represent a “hermetic” work. In the arts and humanities , a paradigm shift took place in the course of the so-called performative turn of the 1990s, when the analysis did not start from a finished work, but from an event aesthetic.
As theater studies have shown, the concept of faithfulness to the work appears problematic, especially from a structural semiotic point of view, since the actor decodes the text characters and encodes them as body characters, costume characters, paralinguistic characters, etc., which generates completely new information.
Examples of non-factory-based adaptations
- Michael Ende was very dissatisfied with the implementation of his book The Neverending Story as a film (production: Bernd Eichinger , director: Wolfgang Petersen ).
- Stephen King criticized Stanley Kubrick's implementation of Shining and later wrote the script for a remake himself.
On the history of the concept of faithfulness to the work
- Johann Wolfgang von Goethe and Friedrich Schiller rejected the concept of faithfulness to the work for their own works at the Weimar National Theater and changed the text of foreign authors according to personal preferences. In 1789, Goethe is said to have expressly pointed out that in the theater it is by no means literature but rather the performance that is the object of the theater.
- The concept of faithfulness to the work has historically had a positive connotation with regard to the theater culture of the late 19th century, insofar as the theater performances of the epoch of so-called bourgeois realism were committed to literary standards.
- From 1936 onwards, the concept of faithfulness to the work can be proven in many cases in the Peter Raabe environment . The German-national notion of loyalty to the "high cultural property of German music" played an essential role in this, and a Munich newspaper described a performance as "work-loyal German" as early as 1933.
literature
- Erika Fischer-Lichte: What is a staging that is true to the original? Reflections on the process of transforming a drama into a performance , article in: Das Drama und seine Stzenierung , Tübingen 1985
- Gerhard Brunner / Sarah Zalfen: Faithfulness to the work. What is work, what is fidelity? Vienna 2011 ISBN 978-3486706673
Individual evidence
- ↑ Peter Raabe, On Reliability and Their Limits. A foreword to a book to be written. In: Fritz Stein Festschr. (Braunschweig: 1939.) pp. 153-60; see. Bolz, Sebastian; Schick, Hartmut (Ed.) (2015): Richard Wagner in Munich. Report on the interdisciplinary symposium on the composer's 200th birthday: Munich, 26. – 27. April 2013. Munich publications on the history of music, vol. 76. Munich: Allitera, p. 297 and Die Musik 1936, vol. 29, p. 734. Raabe's book is available as a manuscript in the Aachen city archive.