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Brgles, Miriam Mary; Škender, Dora
Medijska istraživanja, 01/2020, Volume: 26, Issue: 2Journal Article, Web Resource
Rad je usmjeren na afirmaciju kvalitativnih istraživanja u grani sociologije medija i sociologije kulture, a glavni cilj rada jest opisati kako operna publika prati recentnu opernu produkciju, putem kojih digitalnih medija te koja joj je motivacija i koja joj značenja pridaje. Iako trendovi socioloških istraživanja kazališne publike u zapadnom svijetu podrazumijevaju proširivanje fokusa istraživanja i na „ne-publiku“ (Tröndle, 2019), u Hrvatskoj nikada do sada nije provedeno istraživanje operne i/ili koncertne publike, koja se u Austriji i Njemačkoj zasebno istražuje. Sukladno promjeni paradigme, koja je potvrđena u istraživanjima u SAD-u, istraživačka pitanja rada su: mogu li se prijenosi opera uživo u kinima podrazumijevati kao kulturno događanje te može li se Dollaseova (1998) kategorizacija publike proširiti novom kategorijom, u koju pripada publika koja opere i operne sadržaje prati u kinima i(li) online, što je bila jedina mogućnost tijekom karantene uzrokovane pandemijom bolesti COVID-19. Primijenjen je fenomenološki pristup i kvalitativna metodologija (metoda opažanja sa sudjelovanjem, četiri strukturirana intervjua i analiza sadržaja). Istraživanje je pokazalo kako je uloga virtualnog prostora, iako drugačija i obilježena specifičnim manjkavostima, gotovo jednako važna kao i fizički prostor u kojem se odvija socijalna interakcija operne publike. Publika stvarnost izvedbe opere, preseljene u virtualni prostor, shvaća i opisuje uglavnom s visokim interesima, motivacijom i očekivanjima. Također, besplatni online operni sadržaji, koji su intenzivno zaživjeli u 2020. godini tijekom karantene uzrokovane pandemijom bolesti COVID-19, približavaju opernu umjetnost široj populaciji te se predlaže proširenje Dollaseove kategorizacije kategorijom digitalne operne publike. The article focuses on the following questions: How does the opera audience follow the recent production? Which digital media outputs do they use? What is their motivation? Can opera broadcasts in movie theaters be considered a cultural happening within the new paradigm? In the United States, research results show that there has been a shift in the paradigm regarding the concept of cultural event. Although recent trends in the research of theater audience in Western countries suggest that, in the context of developing this type of opera audience, the focus of research should be broadened to “non-audience”, such research has never been conducted in Croatia. This qualitative research uses a phenomenological approach and the following research methods: participant observation, a semi-structured interview with four participants (opera lovers), and content analysis. The research has shown that the role of the virtual space is almost as equally important as the physical space of the theater, although characterized by significant differences and specific shortcomings. It also seems that the audience accepts the reality of opera broadcasts taking place in the virtual space, as evidenced by the high interest, motivation, and expectations. The number of online opera streams increased during the COVID-19 lockdown and the article lists opera houses which launched some (free) series. In this case, tearing down spatial and temporal boundaries shows the potential for expanding Dollase’s (1998) audience categorization with a new category – digital opera audience
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