ABSTRACT
This chapter discusses the concept of remediation an apt neologism that gave the title to a hefty volume will start from Marshall McLuhan's renowned maxim, formulated forty years ago in a bible on the sociology of mass communication. Opera, a true semiological monster in itself seems to be suitable for studies in the field of remediation, considering that this genre is growing in popularity and has considerably expanded its own boundaries of reception. Bernstein and Carsen's Candide is a real semiological monster because, in addition to the natural complexity of opera itself, there is a rewriting of the theatrical text and a massive use of technology in an interactive relationship between media realized onstage. In Carsen and his dramaturg Ian Burton's operation: this libertarian opera had undergone rewriting by the author himself until 1989, the year before Bernstein's death, when he directed a performance in concert form at the Barbican with a stellar cast, directed by the same Humphrey Burton.
