Live Musical Accompaniment as a Resource in Dramaturgical Composition

Abstract

When, in a show with mime technique, the musical accompaniment is evidenced in such a way that it denotes both its quality of scenic event and its enunciative properties, the doors remain open to envision the gears of staging, which appears as playful area of technical and rhetorical operations, allowing its disciplinary strategies to be observed in perspective. So, it's not just the content of the musical discourse that can be significant, but also the concretization of its enunciation situation; especially, if the instrumental routine and the mime performance are involved with one another. Within the framework of such presuppositions, this analysis of the musicalizing action becomes an excuse to reflect on a kind of dramaturgical thought that bases its meaning construction on a meta-theatrical game, promoting an approach to the fruition of the show that formal –rather than plot-related– expectations arise.