Pelly's Régiment: How and Why to Film an Opera

"The point, therefore, is not to take sides in a dispute between liveness and mediatization—an assumption in which this discussion may easily get trapped—but to investigate the ways in which their interaction may enhance the critical role of opera in a media-saturated world" –João Pedro Cachapo, 2018 For those audience members unable to attend an opera in-person, a filmed recording of the performance can be another way to watch. But how does the act of filming itself affect what version of the story you see? Zach Barr (they/them) looks at two different proshots of Laurent Pelly's staging of "La fille du régiment," as well as one live performance, to make a much larger point about how and why to bring the stage to the screen. Music in this video provided by Podington Bear, and used through a Creative Commons BY-NC license (though Free Music Archive). Bibliography: https://docs.google.com/document/d/1s... "And Now, They Sing" playlist:    • Theatre History Video Essays   For suggesting topics: instagram.com/admiralzachbarr For donations: ko-fi.com/admiralzachbarr