Dido and Aeneas
The opera was staged with the inclusion of the very rarely performed prologue, for
which no original music survives. The score used was that adapted from other works
by Margaret Laurie and Thurston Dart. This in itself would validate the production as
research, as probably the only 'complete' production of the work available, certainly
More particularly, the prologue closely follows the form of the Court Masque, the
dramatic genre in which, quintessentially, scenography merges with dramaturgy. It
therefore takes a natural place in ongoing practical investigations into the relationship
between scenography and 'meaning' on stage.
The performance of the prologue, and the scenographic choices made for the portrayal
of the witches, were found to move the 'meaning' of the opera away from the
psycho-Naturalistic tendencies of late twentieth century productions.
This was the substance of the paper I delivered to the 'Different Directions' conference
at Loughborough University in 2004.
Available for perusal: video recording of the performance, now transferred (unedited)
to DVD; full set of production photographs; full text of the paper Scenography and
Dramaturgy: Dido and Aeneas. All to be available on the internet from January 2007