Inovativni modeli izvedbe opere u kontekstu kreiranja korisničkog iskustva – primjer opere La Traviata
DOI:
https://doi.org/10.15291/oec.4241Ključne riječi:
ekonomija iskustva, 4E model, inovativni modeli glazbene performanse, iskustvena vrijednost, korisničko iskustvo u kulturi, performansa opere, razvoj glazbeno-scenske publikeSažetak
Ovaj rad bavi se paradigmom ekonomije iskustva u djelatnostima kulturnog sektora – glazbenoj i scenskoj umjetnosti – nedovoljno istraženom području u znanstvenoj literaturi. U radu se daje kratak pregled kontekstualnog okvira ekonomije iskustva u području glazbene umjetnosti. Na specifičnom, inovativnom primjeru operne izvedbe „La Traviata“ Giuseppea Verdija u Zadru 2008. godine, koji je osmislio i realizirao koautor ovoga rada (Morović, 2008), analiziraju se karakteristike korisničkog iskustva verifikacijom modela ekonomije iskustva kroz karakteristike iskustva u modelu autora Boswijka i suradnika (2006). Primijenjena je kvalitativna analiza studije slučaja na temelju čega je kreiran, i u radu prikazan, vlastiti model autora koje pripada području razvoja publike u kulturi i umjetnosti. Znanstveni doprinos rada očituje se u traganju za odgovorima do koje mjere inovativni modeli glazbene performanse udovoljavaju načelima kreiranja autentičnoga korisničkog iskustva u ekonomiji iskustva. Donosi se vlastiti model autora „4E kraljevstva“ Pinea i Gilmorea na primjeru opere. Nadalje, autori radom pridonose definiranju konceptualnog okvira u istraživačkom području povezivanja glazbene umjetnosti i korisničkog iskustva u kontekstu ekonomije iskustva. Autori smatraju da je to osobito važno radi približavanja umjetničkih djela široj publici, posebno mladima. Inovativni modeli glazbene performanse su, kako smatraju autori, oni koji, uz tradicionalne izvedbe opere u kazališnim kućama, mogu ponuditi dodatni „proizvod“ s oplemenjenim i proširenim doživljajem glazbe, koji će obuhvatiti svih pet osjetila i ostati u pamćenju recipijenata kao nezaboravno iskustvo.
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