Transgressing the Wall. Mauricio Kagel and Decanonization of the Musical Performance
Transgressing the Wall. Mauricio Kagel and Decanonization of the Musical Performance

Summary/Abstract: The article discusses selected some musical concept by Maurcio Kagel (1931–2008),one of the most significant Argentinian composer. The analysis concerns two issues relatedto Kagel’s work. First of all, the composer’s approach to musical theatre as an artistic toolfor demolishing a wall put in cultural tradition between a performer and a musical work –just like Berlin Wall which turned the politics paradigm in order to melt two politicalpositions into one. Kagel’s negation of the structure’s coherence in traditional musical canonbecame the basis of his conceptualization which implies a collapse within the wall betweenthe musical instrument and the performer. Aforementioned performer doesn’t remain in thepassive role, but is engaged in the art with his whole body as authentic, vivid instrument.Secondly, this article concerns the actual threads of Kagel’s music, as he was interested inenclosing in his work contemporary social and political issues. As the context of the analyzethe authors used the ideas of Paulo Freire (with his concept of the pedagogy of freedom)and Augusto Boal (with his concept of “Theater of the Oppressed”).Both these perspectives aim to present Kagel as multifaceted composer who through hisavantgarde approach abolishes canons (walls) in contemporary music and at the same timepoints out the barriers and limitations of the global reality. Moreover, Kagel’s pieces builtbridges between the South American and European musical paradigms.

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