Blog #2:
Gesamtkunstwerk
What Is Gesamtkunstwerk? And Why Does It Matter Today?
Gesamtkunstwerk was the term first used by German philosopher Karl Friedrich Trahndorff in 1827, but it was popularized by German composer Richard Wagner in the mid-19th century (Trahndorff, 1827; Wagner, 1849). Gesamtkunstwerk breaks down into: Gesamt = whole / total Kunstwerk = artwork. Thus, it means âthe total work of art,â where the various art forms music, performance, architecture, and visuals merge into one single immersive experience.
The concept of Gesamtkunstwerk became popular when Wagner began to introduce the idea of it into his operas, he genuinely believed theatre should bring all artistic mediums together to create the highest, most intense form of expression. In Art and Revolution (1849), he complained that the theatre of his day was âincapableâŚto gather up each branch of Art in its highest and most perfect expressionâ (Wagner, 1849). His frustration eventually became the seed for his concept of Gesamtkunstwerk. Wagner even pictured an audience so thoroughly engaged that they would think of themselves as having gained access to the stage âby means of all [their] visual and aural facultiesâ (Wagner, The Artwork of the Future, 1849). This was not mixing media just for the sake of aesthetics; it was about creating an ideal, all-inclusive sensory experience.
He put this theory into practice with the Bayreuth Festspielhaus (finished in 1876), a theatre specifically built for the absolute monopoly of the audience's concentration on the performance. Every single aspect from architecture to acoustics contributed to the total artwork.
Gesamtkunstwerk and Medium-Specificity: A Conflict in Art
On the one hand, Wagner promoted the blending of all types of art but on the other hand, medium-specificity advocates later theorized-the idea that every artwork should depict its unique features only.
â˘Gesamtkunstwerk advocates for total synthesis
â˘Medium specificity advocates for purity and separation
Long before Wagner, artists were already experimenting with sensory experiences, for example, the Phantasmagoria show in the late 1700s. These shows used lantern projections, sound, movement, and even smoke to create fear among the audience. One of the creators, Ătienne-Gaspard Robertson, confessed that he was not completely happy until the viewers "shivered and shuddered or cover their eyes out of fear of the ghosts and devils" (quoted in Elder, 2008).
In the 21st century, scholars such as Bollmer and Suddarth (2022) came to the conclusion that VR technologies are the genealogically descends of the Gesamtkunstwerk. Virtual reality tends to âoverwhelm and entranceâ the user by way of the simultaneous application of visual, spatial, and auditory immersion (Bollmer & Suddarth, 2022). The link is apparent: Wagner wanted audiences to feel transported, and VR literally does that through digital means.
What Does Gesamtkunstwerk Mean Today?
The present-day media is so full of hybrid experiences that one can hardly classify them into any single category. Such are: Movies and TV shows / Video games / Virtual and augmented realities / Multimedia performances / Even social media posts like TikTok or Instagram edits. There is simply no such thing as a âpureâ medium anymore. All the different mediums have been mixed nowadays.
For Example, video games are often called as modern-day Gesamtkunstwerk because through them a player can experience all the elements at once the creation of the world, sound design, animation, music, narrative, and even input from the player (Sloan, n.d.). Quite like Wagnerâs original notion of harmonious coexistence between different forms of art, if a single element is lacking, the whole experience seems to be incomplete. The present-day digital media do not care about medium specificity. Instead, it thrives on convergence, remixing, and sensory layering.
Gesamtkunstwerk in My Own Creative Practice
While I donât claim that my digital works are anywhere close to Wagner's operas, but I have come to the realization that my art creation aligns with the concept of totality. Whenever I build a digital piece, especially animations or 3D renders I find myself wanting to combine sound, lighting, animation and overall theme to create a specific atmosphere. Recently, I made a little animated film that was inspired by Genshin Impact game. The visual part looked fine, but when I gave the sound of birds chirping, and wind, it finally set the mood that I had in mind. When there was no audio, it felt incomplete. With it, the whole piece suddenly made sense to me. In my way, this is my version of Gesamtkunstwerk: a combination of elements working together to create a complete feeling.
By contrast, I have some projects that never reached that âtotalâ stage. For example, I recently made a render of a red-and-green cloudscape. From the visual aspect, it was exactly how I wanted it; however, my initial concept was to introduce ambient sound and slow movement so that it would be an atmospheric, almost cosmic environment rather than just a still image. As I did not add the layers, the piece feels incomplete to me. It had been a reminder that the aspects of the artwork have the creatorâs own definition of what a complete, unified experience should be.
Conclusion
Gesamtkunstwerk may seem like an old 19th-century idea, but itâs surprisingly relevant today. The desire of Wagner to combine various art forms is still felt in the modern world of cinema, gaming, digital art, and especially in coming up with the immersive experiences one gets through Virtual Reality. Medium specificity may still be a topic of discussion in academia, but the truth is most of the modern-day art forms are somewhere on a spectrum between purity and fusion.
And in the end, I think the concept of âtotal work of artâ really depends on the artistâs intention. The artist can decide when a single painting is done. Â A multimedia piece can feel incomplete if one missing layer breaks the experience. Ultimately, the âtotalâ in Gesamtkunstwerk isnât universal itâs personal.
References
Bollmer, G. and Suddarth, J. (2022) VR and the genealogy of the Gesamtkunstwerk. Available at: https://www.taylorfrancis.com/chapters/edit/10.4324/9781003189349-6/vr-genealogy-gesamtkunstwerk
Elder, B. (2008) Dreadful visions: Phantasmagoria and the birth of horror. Available at: https://www.jstor.org/stable/40440554
Sloan, R. (n.d.) The total work. Available at: https://www.robinsloan.com/overworld/week/1/
Trahndorff, K. F. E. (1827) Ăsthetisches Begriffslexikon. Available at: https://archive.org/
Wagner, R. (1849) Art and revolution. Available at: https://www.gutenberg.org/ebooks/49583
Wagner, R. (1849) The artwork of the future. Available at: https://www.gutenberg.org/ebooks/49583
Wagner, R. (1851) Opera and drama. Available at: https://www.gutenberg.org/ebooks/51376
YouTube (n.d.) Supplementary video reference from lecture. Available at: https://www.youtube.com/watch?v=kY8zGYe5W5g
