Tereza Havelková

Mgr. Tereza Havelková, Ph.D.

Consulting hours
Address

Institute of Musicology
Místnost č. 403

Research

  • Opera, music theatre and multimedia
  • Music of the 20th and 21s centuries
  • Cultural studies of music

Tereza Havelková received her M.A. in musicology from Charles University in Prague and her Ph.D. from the University of Amsterdam (Amsterdam School for Cultural Analysis). She held scholarships at the Royal Holloway University of London, Humboldt University in Berlin, and Columbia University in New York (in frame of the Fulbright Program). Her research concentrates on contemporary relationships between opera and the media, and the intersection of aesthetics and politics in music theatre. She is the author of Opera as Hypermedium: Meaning-Making, Immediacy, and the Politics of Perception (Oxford University Press 2021), and co-editor of the special issue “Sounding Corporeality” of Theatre Research International 46.2. She is currently working on a book titled Music Theater and Politics: Hegemonies, Resistances, Utopias (co-edited with Marcus Tan, contracted with OUP), and an edited volume in Czech called Sound, Gender, Identity: Cultural Analysis of Music in East-Central Europe (Karolinum 2023). She is the convenor of the Music Theatre Working Group of the International Federation for Theatre Research.

Selected bibliography

  • „Dokumentární gesamtkunstwerk aneb Může Lenin zpívat? Opera Deset dnů, které otřásly světem v pražském Národním divadle“. Divadelní revue 33/1 (2022), s. 31-53.
  • Opera as Hypermedium. Meaning-Making, Immediacy, and the Politics of Perception. NewYork: Oxford University Press, 2021. [DOI]
  • “Sounding Corporeality.” Special issue of Theatre Research International (Cambridge University Press), Volume 46, Issue 2, July 2021, co-edited with Aoife McGrath, Marcus Cheng Chye Tan, Prarthana Purkayastha, “Editorial: Sounding Corporeality,” pp. 108-114. [DOI]
  • “Minding the Gap. The Politics of the Body-Voice Relationship in Hypermedial Opera”, Opera Quarterly (Oxford University Press), Volume 36, Issue 1-2, Winter-Spring 2020, pp. 27-49. [DOI]
  • „Národ a totalita v současné české opeře: Případ Nagano a Zítra se bude…“. In Kultura a totalita. Národ, ed. Ivan Klimeš a Jan Wiendl. Praha: Filozofická fakulta Univerzity Karlovy 2013, s. 442-457.
  • „Allegory and Seduction: Staging the Promise of Knowledge in Contemporary Opera“. In Inside Knowledge: (Un)doing Ways of Knowing in the Humanities, ed. Carolyn Birdsall, Maria Boletsi, Itay Sapir a Pieter Verstraete. Cambridge Scholars Publishing 2009, s. 267-286.
  • „Do You Want to Be Absorbed? The Knotty Acts of Mediation in Rosa: A Horse Drama.“ In: Sonic Mediations: Body, Sound, Technology, ed. Carolyn Birdsall a Anthony Enns. Cambridge Scholars Press 2008, s. 227-242.
  • „Kotík, Petr“. In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher. Kassel, Stuttgart: Bärenreiter, J. B. Metzler 2008.
  • „Zouhar, Vít“. In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher. Kassel, Stuttgart: Bärenreiter, J. B. Metzler 2008.
  • „Růžička, Rudolf“. In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher. Kassel, Stuttgart: Bärenreiter, J. B. Metzler 2008.
  • „Marek, Martin“. In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher. Kassel, Stuttgart: Bärenreiter, J. B. Metzler 2008.
  • „Košut, Michal“. In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, ed. Ludwig Finscher. Kassel, Stuttgart: Bärenreiter, J. B. Metzler 2008.
  • „Björn Heile: The Music of Mauricio Kagel.“ Studies in Musical Theatre, Volume 1, Number 3, 2007, s. 321-323.
  • „When the ‚Morgenland‘ Looks East: Miloslav Kabeláč and Musical ‚Others‘“. In New Music in the „New“ Europe 1918-1938: Ideology, Theory, and Practice, ed. Geoffrey Chew. Praha: KLP 2007, s. 71-76.
  • „Czech Music from 1945 to the Present.“ In Czech Music. Divadelní ústav, Praha 2005, s. 38-48.
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