The music for theater: from the subjectivity of the choice to the spectator's literacy

Abstract

The choice’s subjectivity is intrinsicallyrelated with the intention and result expected with this artistic languages junction that, being well achieved, are complemental and even one in its whole and product but, if it doesn’t happen, may redound in the simple destruction/distituiton of two comunicational and artistic universes that cam be separated, resulting in the intentions decrease of any musical choice, being in the criation plan complex (original soundtrack), being in the simple adaptation music plan. The rules, when deliberatelybroken by an associated artistic intentionality can result in something magnificent but that should prevail, only and only, when the individual who decides technically on this matter (regardless of its function) knows, minimally, the matrix and the rules of a choice as an addition to something to the artistic object that is common. Even so, everything is plausible and justifiable if it is sustained by an artistic and objective intentionality that provokes (or attempts) a sensation, an emotion or transmits something unexpected, improbable or even adverse and distinct in terms of the artistic language of the parties (and / or between parties). But everything that every spectator, irrespective of his literacy or artistic knowledge, can feel, perceive or imagine can, as it were, be able to share opinions and for question (even in the strict universe of theatrical or musical criticism) the choices or, even, to applaud standing, a choice or a work directed to a particular moment. Subjectivity in the choice and acceptance of the interdisciplinary art object or moment reigns in this marvelous realm of art where it may be possible to bring together in one universe everything, which two universes can constitute, speak, express, or simply convey.