Joan of Arc at the stake - Joan of Arc at the stake

Japanese: 《火刑台上のジャンヌ・ダルク》 - かけいだいじょうのじゃんぬだるく

In the 20th century, the subject matter and the techniques became more diverse, and the genre spread regionally. First, in France, Honegger composed King David (1921), which used the techniques of medieval mystery plays, and created a kind of opera oratorio with acting in Joan of Arc at the Stake (1935). Other examples of this type include Stravinsky's (Russia) Oedipus Rex (1927) and Schönberg's (Austria) Moses and Aaron (1930-32). Around 1930, influenced by the reform of church music, K. Thomas reexamined the historia of Protestant churches, and many works were composed, including J. Driesler's "The Living One" (1956) in Germany, W. Burckhardt's "The Face of Isaiah" (1935) in Switzerland, F. Martin's "Golgotha" (1948) and "The Sacrament of Nativity" (1959), and G. Migo's "Sermon on the Mount" (1936) in France.

From Claudel

...Such experiments in full theatre were continued in works such as "The Book of Christopher Columbus" (1927, composed by D. Milhaud in the form of an opera) and "Joan of Arc at the Stake" (1934, composed by A. Honegger).

*Some of the terminology used in reference to "Joan of Arc at the Stake" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…20世紀に入ると題材も手法も多様化し，地域的な広がりを見せる。まずフランスではオネゲルが中世の神秘劇の手法を導入した《ダビデ王》(1921)を作曲，《火刑台上のジャンヌ･ダルク》(1935)では演技を伴う一種のオペラ･オラトリオを創作し，この種のものとしてストラビンスキー(ロシア)の《オイディプス王》(1927)，シェーンベルク(オーストリア)の《モーセとアロン》(1930‐32)などがある。1930年ころには教会音楽改新の影響を受けて，プロテスタント教会のヒストリアがK.トーマスによって見なおされ，ドイツではJ.ドリースラーの《生ける者》(1956)，スイスではW.ブルクハルトの《イザヤの顔》(1935)，F.マルタンの《ゴルゴタ》(1948)，《降誕の秘跡》(1959)，フランスではG.ミゴの《山上の垂訓》(1936)など数多く作曲される。…