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met:hoffman_dec_19_2009

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met:hoffman_dec_19_2009 [2009/12/20 11:32] – tomgeemet:hoffman_dec_19_2009 [2010/12/13 16:50] (current) – tomgee
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 [[Daves Blog Hoffman Review Dec 20, 2009]] [[Daves Blog Hoffman Review Dec 20, 2009]]
  
-Libbie and I discussed the role of the muse. I learned a new term, androgynistic, which means neither male nor female. At first the muse seemed in love with Hoffman thenn seemed to plot against him on the side of the vil;ains. This post has an interesting interprteation:+Libbie and I discussed the role of the muse. I learned a new term, androgynous, which means neither male nor female. At first the muse seemed in love with Hoffman then seemed to plot against him on the side of the villains. This post has an interesting interpretation:
  
- +Nicklausse/Muse's apparent      collusion with the Villains should be especially controversial. I see it as 
-     Nicklausse/Muse's apparent  +
-collusion with the Villains should be especially controversial. I see it as +
 part of Sher's extremely Muse-centered interpretation: it's all about the  part of Sher's extremely Muse-centered interpretation: it's all about the 
-competition between the Muse and Stella for Hoffmann's love. The Three +competition between the Muse and Stella for Hoffman's love. The Three 
 Heroines have no real existence, and Sher's staging of the Prologue makes  Heroines have no real existence, and Sher's staging of the Prologue makes 
-clear that both the Muse and Stella know what's at stake in Luther's tavern  +clear that both the Muse and Stella know what's at stake in Luther's tavern that night.
-that night.+
  
 The Muse doesn't really collude with the Villains (well, except maybe when  The Muse doesn't really collude with the Villains (well, except maybe when 
 Nicklausse lends Dr. Miracle his wrist to take "Antonia's" pulse). But she  Nicklausse lends Dr. Miracle his wrist to take "Antonia's" pulse). But she 
-wants to see Hoffmann through to the far side of each (imaginary) affair. +wants to see Hoffman through to the far side of each (imaginary) affair. 
 For that reason, it's natural that the Villain of each tale takes Nicklause  For that reason, it's natural that the Villain of each tale takes Nicklause 
 into his confidence. They have aligned interests, but for different reasons. into his confidence. They have aligned interests, but for different reasons.
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 iteration of Capobianco's production at NYCO, he had the Villains in  iteration of Capobianco's production at NYCO, he had the Villains in 
 collusion, not with Nicklausse, but with the Heroines!  Each act ended with  collusion, not with Nicklausse, but with the Heroines!  Each act ended with 
-the heroine and the villain laughing at Hoffmann: not only Giulietta, where +the heroine and the villain laughing at Hoffman: not only Giulietta, where 
 it's written that way in the Guiraud/Choudens version; but also a  it's written that way in the Guiraud/Choudens version; but also a 
 re-integretated Olympia -- and even Antonia, who, instead of dropping dead,  re-integretated Olympia -- and even Antonia, who, instead of dropping dead, 
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 and would prefer an approach like this.) and would prefer an approach like this.)
  
 +The press mad much ado of the fact that the topless woman in the barroom scene wore pasties for the HD performance. Not sure who they think is attending these performances or what they're protecting us from, but here's the barroom girls without pasties but censored:
 +
 +{{:met:hoffmann_hd.jpg|}}
 +{{:met:imgc433.jpg?400|}}
met/hoffman_dec_19_2009.1261326751.txt.gz · Last modified: 2009/12/20 11:32 by tomgee