Abstract

The potentials of the musical material used in the theatrical production, in many instances, remain largely unexplored. Thusly, remediation presents itself as one of the best ways to ensure further development of this musical material. Placed in a new context (for example, a concert piece) it can reach a broader audience outside of the theatre. Starting from the musicological understanding of Jay David Bolter’s and Richard Grusin’s concept of remediation, introduced in Serbian musicology by Vesna Mikić, this paper aims to present and explain the reasons why remediation is the best possible means to extend the life of the former musical layer of a theatrical production. This will be done on two case studies – concert pieces of Ivana Stefanović and Zoran Erić – two of the most prominent figures that gave a great contribution to Serbian incidental music as well as other theatrical projects.

Short biography

Monika Novaković (1995) is a Research Assistant at the Institute of Musicology of the Serbian Academy of Sciences and Arts and a PhD candidate at the Faculty of Music, University of Arts, Belgrade, Serbia. She completed her BA and MA studies in Musicology at the Faculty of Music in Belgrade. Although she deals with various subjects, her professional interest is focused on the research of the field of applied music – particularly film and theatre/incidental music.