Abstract EN:

She transgresses boundaries for love, and on stage, via the initiatory ritual and rites of passage, the opera singer becomes a victim-emissary. Her fateful destiny is played out from the first to the last line of the work, ending in her inexorable death in order to preserve the cohesion of the social group, of the society of which she has become the mirror. Such is the ontology of the singer transformed into diva. But over and above what is visible on stage, one needs to observe that which remains hidden, the invisible made visible by means of the talent or, let us say, the gift sent from heaven : the voice of the soul of the diva. She transcends herself and thus becomes a myth and in the manner of all myths she explains the origins of the earth, links us to that which is sacred, and spreads out before us the society of times past, like a story. So lives, sings and dies a diva, a myth. A woman at once interpreter and interpreted, she overwhelms, moves, transcends herself and her audience. Yesterday's divas, today's divas ″on live″, but also those of tomorrow, because technical progress will never become a substitute for the physical encounter between the diva and the spectator. There lies both the ontology and the myth of the diva