Titlebar

Export bibliographic data
Literature by the same author
plus on the publication server
plus at Google Scholar

 

Die weinende Jury : »Geschlechtslose« Tränen bei globalen Musik-Castingshows?

Title data

Kohl, Marie-Anne:
Die weinende Jury : »Geschlechtslose« Tränen bei globalen Musik-Castingshows?
In: Grotjahn, Rebecca ; Jaeschke, Nina , Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold (ed.): Freie Beiträge zur Jahrestagung der Gesellschaft für Musikforschung 2019. - Detmold , 2020 . - pp. 158-167
DOI: https://doi.org/10.25366/2020.59

Official URL: Volltext

Abstract in another language

Tears are flowing. Whether Yvonne Catterfeld, Kazim as-Sahir, Unati Msenga-na, Liu Huan, Simon Cowell or Lira – they are all part of a jury of global music casting show formats such as The Voice, Idol or Got Talent and show their tears in front of the camera, seemingly ashamed and yet completely uninhibited. Their tears flow in reaction to ‘particularly soulful’ music titles or to the candidates’ tragic personal stories, paired with the ‘right’ song selection. The display of great emotions is an essential element of reality TV formats. With Sara Ahmed, they can be understood in the sense of an ‘affective economy’ as an effect of their circulation, their staging as a specific ‘emotional style’ of dealing with emotions (Eva Illouz). The circulation of affects in casting shows is a global one, since the formats, developed in Europe, have produced local versions in over 60 countries worldwide. Emotions play an important role in the successful localization of the formats and define a complex area of conflict between a sensitization to socio-cultural characteristics and the ‘reproduction of culturalistic concepts’ (Laura Sūna) or clichés. In European cultural history, tears have developed a special significance as guarantors of the authenticity of empathy (Sigrid Weigel), and are generally associated with femininity, however at the same time have been film-historically recoded as ‘gender-neutral’ (Renate Möhrmann). Keeping in mind that all these casting show formats have been exported from Europe, these observations are of special interest, especially since one can see men and women crying equally in the Arabic, German or South African versions of e. g. The Voice. This article questions the concurrence of musical performance, display of tears, gender performance and the translocal dramaturgy of music casting shows.

Further data

Item Type: Article in a book
Refereed: No
Keywords: Castingshow; Affekte; Emotionen; Gender; Männlichkeit
Institutions of the University: Faculties > Faculty of Languages and Literature > Chair Theatre Studies with a focus on Music Theatre
Faculties > Faculty of Languages and Literature > Chair Theatre Studies with a focus on Music Theatre > Chair Theatre Studies with a focus on Music Theatre - Univ.-Prof. Dr. Anno Mungen
Research Institutions > Research Units > Research Institute for Music Theater Studies - FIMT
Result of work at the UBT: Yes
DDC Subjects: 700 Arts and recreation > 700 Arts
700 Arts and recreation > 780 Music
Date Deposited: 12 Jan 2021 08:28
Last Modified: 12 Jan 2021 08:30
URI: https://eref.uni-bayreuth.de/id/eprint/61544