tag:blogger.com,1999:blog-47380139065195714372024-02-18T23:39:20.888-08:00Jude'sMusingsJudith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.comBlogger50125tag:blogger.com,1999:blog-4738013906519571437.post-65647812991113215682024-01-03T08:30:00.000-08:002024-01-03T08:30:06.673-08:00<p> <b>Fair-The-Well</b></p><p>To anyone who has read any of this: this will be my last post at JBS Musings. It's been a good 8 year run, but it's time to move on. I'm not finishing as a blogger. Look for me again soon at another address, blogging on a more limited topic.</p><p><br /></p><p>Judy</p>Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-28624727048534746952022-11-10T11:10:00.000-08:002022-11-10T11:10:13.153-08:00La Otra Mirada [The Other View] Comes to America<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjy3sTdWLkT59YRGNWHKgaS81qyTQ913DnU1c-pTbOsRZrLfcQFg9RvR0cll-WVASNbda84QNR_SlQ4kTDeXgQx4hSGWUvoUNoO0pnY-GrVsiVZ3O3HxhsnogTn4o20QG5xyI3pWEdJZCa9bBhAK2RUmSXls_aev6udx82Oq27neeCcinVqBKpbkkxY8Q" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="3000" data-original-width="2000" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjy3sTdWLkT59YRGNWHKgaS81qyTQ913DnU1c-pTbOsRZrLfcQFg9RvR0cll-WVASNbda84QNR_SlQ4kTDeXgQx4hSGWUvoUNoO0pnY-GrVsiVZ3O3HxhsnogTn4o20QG5xyI3pWEdJZCa9bBhAK2RUmSXls_aev6udx82Oq27neeCcinVqBKpbkkxY8Q" width="160" /></a></div><br /> <i style="font-family: Calibri, sans-serif;">La Otra Mirada,</i><span style="font-family: Calibri, sans-serif;"> </span><span style="font-family: Calibri, sans-serif;">a Spanish TV production from 2018-2019, finally arrived in the U.S. via PBS and Amazon, under the title of</span><span style="font-family: Calibri, sans-serif;"> </span><i style="font-family: Calibri, sans-serif;">The Boarding School. </i><span style="font-family: Calibri, sans-serif;">Set in an elite school for girls in 1920's Seville, the first season chronicles a year in which a false dawn of Feminism occurs among both adolescent students and female teachers within a traditional, paternalistic society.</span><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj6Q-Epu_jCdwG-mHrgXorKKvcV6aL1gul-ivob5FNqEGXPVSfNgIJvExT6QLcpr7fNT4BznBrRGXJFpsH5I4RsWdD8GBULuw5pOE0ut0MzeOZ2TXuIekylkDKg8FE4chDGDTGN8omHWmV_j97EB1ArUba9t3zWoHzn0qtOwq0GDIUeYRknqZ1yHwou8A" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="2736" data-original-width="2736" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEj6Q-Epu_jCdwG-mHrgXorKKvcV6aL1gul-ivob5FNqEGXPVSfNgIJvExT6QLcpr7fNT4BznBrRGXJFpsH5I4RsWdD8GBULuw5pOE0ut0MzeOZ2TXuIekylkDKg8FE4chDGDTGN8omHWmV_j97EB1ArUba9t3zWoHzn0qtOwq0GDIUeYRknqZ1yHwou8A" width="240" /></a></div><br /><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">The plot is driven by two events: The first is the assumption of Manuela, the young progressive director of the school to this position formerly held by her mother, its founder. The second is the arrival of Teresa, the enigmatic daughter of the murdered Spanish Ambassador to Lisbon. He leaves behind a cryptic note to her, with the name of one of the school's students on it, which sends her off on a quest to solve the mystery of his assassination.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">As with so many TV series, the first season has several directors and writers, but they succeed in giving in-depth characterizations of both some students and faculty members over this fateful year in 13 episodes. Among the teachers, it focusses on Manuela and Teresa and two others, Angela and Luisa. Each has her own situation as women in a world still severely limited by tradition. Manuela, married to an influential lawyer, does not want children, and is in conflict both with rather her conventional husband, and her equally strong-minded mother. Angela with four sons and a caring stay-at-home husband, finds herself falling in love with a woman, an artist and the single mother with her daughter at the school. Luisa, a woman, remains mired in widowhood, supporting and exploited by her worthless son.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Teresa is the outlier--a sort of female knight-errant, who has spent her twenties estranged from her father, but with enough independent money so that she can travel the world by herself, and live as she wishes. She wears stylishly modern trousers, smokes cigars, and sleeps with whom she pleases. The school for her is a temporary landing place as a base for her investigations incognito. She and Manuela click when they meet, and Manuela offers her a teacher's job at the school. Over the course of the year, Teresa finds that she is a talented, if radical educator, and she and Manuela work to make their female charges begin to value themselves as individuals beyond the views of Seville's (and Spain's at the time--and beyond) men, who view women as breeders and sex objects, and attractive ornaments.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">A group of the students receive equal focus. Most come from privileged backgrounds, and their parents seem to expect a sort of finishing school education to make them obedient wives. Unexpectedly they receive far more, learning how to cope with the usual problems of adolescence and the upheavals of puberty, the courage to speak up and dare to think of a future beyond simple matrimony (some of their teachers are, knowingly or unknowingly, experiencing this as working mothers and career women, in one of few the careers available at a time where they are able to do so). Several girls have far more difficult ordeals: one has a sister who dies suddenly, derailing her own ambitions. Another, the Roberta of the fatal note, is raped by her fiancé, the heir of the powerful Peralta family--and decides to accuse him in court.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Most of the men don't come off too well, except for Manuela's understanding father, and Ramón, the cute red-haired janitor--and the only proletarian character in the series. One Peralta brother goes through personal tragedy: Tomás, decides to support Roberta publicly at her trial, and is consequently disinherited by his family (he ends up as an assistant janitor at the school), and can never marry the girl student he loves. But men in Spain would have to undergo a lot in future decades, including a brutal war and repression for everyone before things would start to change.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">I don't want to reveal any more details of the very complicated plot with the focus on so many characters and situations, but the writers and directors of the series do an amazing feat of keeping it all together, right to the season finale, where many things find solutions, but others do not, as in real life.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">I understand that the second series was only eight episodes and had an indifferent critical reaction. I really don't want to see it.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 12pt 0in 0in;">Spanish women would go into a repressive eclipse with the triumph of the Franco regime in 1939 that would turn the clock back for nearly three decades. As I was growing up in postwar World War II America, the situation initially for girls and women was only marginally better (think <i>Mad Men</i>). But I, like them have passed through successive changes and have lived in both places (and was fortunate to be married for a while to a very free-thinking Spaniard too). Hopefully, all this won't cycle back.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 12pt 0in 0in;">____________________________________________________________________________</p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 12pt 0in 0in;">The first season is currently broadcast on PBS stations, with all episodes streaming on PBS passport, and also available on Amazon Prime.</p>Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-72237712282932234082022-07-19T08:51:00.002-07:002022-07-19T08:51:39.541-07:00<b><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span> <span style="font-size: large;"> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-size: large;">Pistol Packin' San Antonio: </span></b><div><b><br /></b></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTsBM1X-6B-9Uo2yMB3ifFBEFke7LTs9hK_R8aXQ-m25D5O93OISlncCpM-78bio00Z6aC0nybkk6MfQHIWyco_3M0cyakEmC--AaFamohSxIDxOx4Vggahlu7CHRqgxBWHoRaPuMxIMpxVzvJAjYmDeKSIiwVdDoKdqqyGfXXtEI5RLb_uQmfEsxjDg/s2400/2400x0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="2400" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTsBM1X-6B-9Uo2yMB3ifFBEFke7LTs9hK_R8aXQ-m25D5O93OISlncCpM-78bio00Z6aC0nybkk6MfQHIWyco_3M0cyakEmC--AaFamohSxIDxOx4Vggahlu7CHRqgxBWHoRaPuMxIMpxVzvJAjYmDeKSIiwVdDoKdqqyGfXXtEI5RLb_uQmfEsxjDg/s320/2400x0.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><b><br /></b></div><div><span style="font-family: helvetica;"><b>1882</b>
<b>Dedicated to the very diverse victims, white, brown and black, from children to the <span> <span> </span></span>elderly of Uvalde, Buffalo, Sutherland Springs, El Paso, Las Vegas, etc. etc. etc.</b> </span></div><div><br /></div><div>
<b>DEADLY WEAPONS. -Chapter XIII. of the Revised City Ordinances), page 38 and 39, provides as follows :</b> </div><div><br /></div><div>
<i>" Section I. If any person shall, within the corporate limits of this city, carry arms about his or her person, a bowie knife, dirk, butcher knife or razor, or any fire arm known as a six shooter or pistol of any kind, or having around his or her person what is known as brass knuckles, slung shot, club, loaded or sword cane, or any other weapon manufactured or sold for the purpose of offence or defense, and capable of inflicting death or great bodily injury, such person shall be deemed guilty of a misdemeanor, and upon conviction thereof before the Recorder of the city,shall be fined in a sum of not less than twenty-five dollars nor more than one hundred dollars, and in default of payment shall be confined in the City Prison, or placed in hard labor upon the public works of the city, for not less than twenty-five nor more than thirty days, to be determined by the Recorder; provided, that this ordinance shall not apply to any legally authorized conservator of the peace, when he may be in the legal discharge of his duty,
Section 2. That it shall be the duty of all civil officers from other counties than Bexar, visiting San Antonio, officially or otherwise, who have authority to wear arms,
Bexar, visiting San Antonio, officially or otherwise, who have authority to wear arms, shall, upon arriving in the city. report to the Mayor, who shall examine their papers as to their right to wear arms, and endorse the same; otherwise to be dealt with as the law directs."</i> </div><div><br /></div><div> If anyone reading this blog gets angry reading the above quote and wonders when this law came out, they should note that it was written and published for the city of San Antonio in 1882, when the attitude towards weaponry in the city was radically different, it seems, from today. </div><div><br /></div><div> Movies and fiction would have us believe that in the 1880's, the west was totally lawless: most everyone had a six-shooter and in most places, it wasn't safe for ordinary people to walk in the streets. While it was true of some locations, such as the Tombstone and Dodge City, where gunfights really happened in the 1880's, there were far more where it didn't.</div><div><br /></div><div> The city of San Antonio did have a famous shooting in 1882. It happened in a saloon and vaudeville house owned by Jack Harris, who was assassinated by Ben Thompson of Austin. Two years later, Thompson would be killed, apparently in revenge along with an acquaintance, King Fisher at the same <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmXm01lW2xxM7a6mtply-NH07D3q-kFgBGkhYSHJD6NEALi0XyaE76VBMizPDclrRGMwhyj_luspxq7DhuNVZp31ng2j6S5do8iqDMcXx9s7ms-xoWEXMeHdLf7RgGfDt1yQX0Tiv0FA-7YVQYlvWcnXjXVV-AfSrgtrMbFYG--7YLdxbhqzVRoSbguw/s1000/unpublishedimage.jpg.optimal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="1000" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmXm01lW2xxM7a6mtply-NH07D3q-kFgBGkhYSHJD6NEALi0XyaE76VBMizPDclrRGMwhyj_luspxq7DhuNVZp31ng2j6S5do8iqDMcXx9s7ms-xoWEXMeHdLf7RgGfDt1yQX0Tiv0FA-7YVQYlvWcnXjXVV-AfSrgtrMbFYG--7YLdxbhqzVRoSbguw/s320/unpublishedimage.jpg.optimal.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br />venue. The theater's location, above a cigar store at the corner of Soledad Street and Main Plaza became popularly known as the "Fatal Corner," though the building itself burned down in 1886. </div><div><br /></div><div> But these two related events were highly unusual for San Antonio and caused a sensation in the local newspapers. There were certainly violent acts related to drunkenness and gambling in the city, but these were largely confined to Main and Military Plaza areas, in which commerce flourished by day, and drinking in the surrounding saloons at night. By 1889 a "Sporting District," which contained the bulk of <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixsQqHTk_S5PNRN9mOuLmw8dyXAeHy8GJrRwz8PkQQGwiWqaE0XBeEfaRbSESsjlAJqBOyVQTkI6bWOD0cAB0fhnEKsbVy1cgSah9Bad4ODc827dfkAQ7v65OVBfUcxDhUy1tqJXM8GzoUAf9s39b569DYlxzYYTdSt4Pn7swZyZOvhE_-AEFHc8kzRQ/s652/Scan.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="505" data-original-width="652" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixsQqHTk_S5PNRN9mOuLmw8dyXAeHy8GJrRwz8PkQQGwiWqaE0XBeEfaRbSESsjlAJqBOyVQTkI6bWOD0cAB0fhnEKsbVy1cgSah9Bad4ODc827dfkAQ7v65OVBfUcxDhUy1tqJXM8GzoUAf9s39b569DYlxzYYTdSt4Pn7swZyZOvhE_-AEFHc8kzRQ/s320/Scan.jpeg" width="320" /></a></div><br />the saloons and prostitution establishments was established by the city government. For families, there were beer gardens in the German tradition in the more genteel residential districts, which were extravagantly touted along with San Antonio's other businesses in the 1885 in <i>The Industries of San Antonio, Texas.</i></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw4sptmUMm_162EnEjTRpMJ35qrSYIcPsQ_VLo7bJL7jEpv6UaX2NWHtKEP-Cu3sVwKGxBkWNMrhVyuOVaRJOxDeVvvQbDXuE0J3JKl09hYYxh0sY6kcQ-3L-obDFa9W4J6NLuZAk8Lw5NbUxpWbP9pYdkoT5YyqgDOoZXSuv_L-WP53oesLj_Y1fdhQ/s549/147061619_1820323861464812_2535689586449181013_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="407" data-original-width="549" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw4sptmUMm_162EnEjTRpMJ35qrSYIcPsQ_VLo7bJL7jEpv6UaX2NWHtKEP-Cu3sVwKGxBkWNMrhVyuOVaRJOxDeVvvQbDXuE0J3JKl09hYYxh0sY6kcQ-3L-obDFa9W4J6NLuZAk8Lw5NbUxpWbP9pYdkoT5YyqgDOoZXSuv_L-WP53oesLj_Y1fdhQ/s320/147061619_1820323861464812_2535689586449181013_n.jpg" width="320" /></a></div><br /><div><br /></div><div> What is, to this writer, is more interesting is really how mundane San Antonio was in the 1880's. Finally becoming attached to the greater United States by the introduction of its first railroad line in 1877, and a second four years later, this decade saw the paving of downtown streets--with hexagonal mesquite blocks, a streetcar system, gaslighting being replaced by electricity, and reliable water service.
An indicator of the progress in the city was the publication in 1882 of Stephen Gould's T<i>he Alamo City Guide. San Antonio, Texas, Being a Historical Sketch of the Ancient City of the Alamo and Business Review; With Notes of Present Advantages, Together With a Complete Guide to All The Prominent points of Interest About the City, And a Compilation of Facts of Value To Visitors and Residents.</i> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNse_96zWs1jXsb1h6cL9LQttNXHrXNVqlomQI_KzGjorIo5MNRhdX8OZ0dhqFa4PMKR_gcGPkXdtoFRm3Ctc8bryzyUJRA_fd2vAR7K3vz-84t-PV61ngnUf8GdS-0tewM7sgyhLDfX8SwF4p0sw1pHFW3mggSltCnRHcqdLx3225yCnpsa3pF3zJAQ/s273/Unknown.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="273" data-original-width="180" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNse_96zWs1jXsb1h6cL9LQttNXHrXNVqlomQI_KzGjorIo5MNRhdX8OZ0dhqFa4PMKR_gcGPkXdtoFRm3Ctc8bryzyUJRA_fd2vAR7K3vz-84t-PV61ngnUf8GdS-0tewM7sgyhLDfX8SwF4p0sw1pHFW3mggSltCnRHcqdLx3225yCnpsa3pF3zJAQ/s1600/Unknown.jpeg" width="180" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"> Gould had been a journalist in San Antonio for some years, and was secretary of the short-lived Mercantile exchange until its demise in 1884. He also seems to have been a one-man chamber of commerce. </span></div><div><br /></div><div> At the time of the guide's publication, the city had a population of about 20,000 people, which would nearly double during the decade. It had been multi-ethnic since Texas joined the union in 1846, at first being equally divided among its Hispanic, German and Anglo-American inhabitants, with a small number of African Americans, at first enslaved, then freed. By 1880, the proportions shifted, with increasing numbers of Anglo-Americans coming from other states, but the city still retained strong elements of Germanic and Hispanic cultures. </div><div><br /></div><div> There were gunsmiths in the city to be sure, but the firearms trade was aimed at hunters
and shooting clubs, which had its origin in San Antonio's German community who sponsored very popular target shoots with medals. </div><div><br /></div><div> A look at contemporary newspapers, the San Antonio Light and the San Antonio Express, reveal few accounts of violence beyond the "Fatal Corner" incidents. Death was far more likely to claim its inhabitants by epidemic diseases and accidents. As Gould put it: </div><div><br /></div><div>
<i>"Visitors should remember that San Antonio ranks as one of the best-governed cities in America. The citizens are law-abiding, intelligent, and refined. They are composed of representatives of every nationality in the civilized world, and with accessions from all of the older States of the Union. of human life and personal property are as safe here as in any of the cities of America or Europe, and compared with many far more pretentious cities, San Antonio occupies the first rank for the maintenance of law and order."</i> </div><div><br /></div><div> Almost every issue of the San Antonio Express-News in the twenty-first century reports some sort of murder within city's the urban confines. Part of has to do with the fact that we're now over 1.5 million inhabitants, but I wonder if the number is so high may in part be due to the fact that the 1882 statutes are long gone? It would be hard to imagine a member of the Shooting Club walking calmly down Commerce Street, picking off pedestrians, merchants and the occasional mule, as he went.
_______________________________ </div><div><br /></div><div> Stephen Gould's Alamo City Guide is available online at <a href="https://catalog.hathitrust.org/Record/009597033" target="_blank">https://catalog.hathitrust.org/Record/009597033</a></div><div><br /></div><div> On the Vaudeville Theater shootouts, see: Alice C. Geron and Gary W. Yantis, Fatal Corner which appeared in San Antonio Monthly in July, 1982, and republished on the Watercress Press website: <a href="http://watercresspress.com/previous-site/Fatal-Corner.htm " target="_blank">http://watercresspress.com/previous-site/Fatal-Corner.htm </a></div><div><br /></div><div>On shooting clubs in San Antonio, see Paula Allen's articles in the San Antonio Express News, August 7, 2020: <a href="https://www.expressnews.com/life/life_columnists/paula_allen/article/San-Antonio-s-German-style-shooting-club-of-the-15468421.php " target="_blank">https://www.expressnews.com/life/life_columnists/paula_allen/article/San-Antonio-s-German-style-shooting-club-of-the-15468421.php </a></div><div> </div><div>A recent Texas Public Radio podcast series on the sporting districts can be accessed at <a href="https://www.tpr.org/history/2022-04-01/no-boundaries-how-san-antonios-red-light-district-grew " target="_blank">https://www.tpr.org/history/2022-04-01/no-boundaries-how-san-antonios-red-light-district-grew</a></div><div><br /></div><div> The best book of 19th-century Photographs with commentary is still, Cecilia Steinfeldt's San Antonio Was, San Antonio, San Antonio Museum Association, 1978.</div></div>Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-1256233462878125362021-12-07T10:55:00.002-08:002021-12-07T11:05:32.580-08:00Life, Death and Vax<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU89Dj-ZEXv8bDKe7baIZ3JDuCOR1-SShJUeEw6gkA41daLRPTJnLWQEvjdzBQosNzY6myVK34zT7-skL2DTW_C3Eq1NfHr0wTy-sJDfz4pNRgsjWnVPx8R8rohn-q4evnI5drhS3gWUpd/s1536/N01522_10.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="600" data-original-height="1053" data-original-width="1536" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU89Dj-ZEXv8bDKe7baIZ3JDuCOR1-SShJUeEw6gkA41daLRPTJnLWQEvjdzBQosNzY6myVK34zT7-skL2DTW_C3Eq1NfHr0wTy-sJDfz4pNRgsjWnVPx8R8rohn-q4evnI5drhS3gWUpd/s600/N01522_10.jpg"/></a></div>
This is my second rant on Vaxing, but I feel I have to say it again--and more strongly.
The past two years of Covid 19 has given modern Americans, and everyone else in the world, a taste of what major epidemics used to be like. Of these, the Black Death in the 14th century and the 1918 Influenza epidemics are probably best known to us, because they were thoroughly chronicled in Western European and American society, but they occurred all over the world, nearly all the time. The introduction of measles and smallpox to the Americas in the 16th and 17th centuries virtually wiped out the lives of the indigenous people who had lived there for millennia. When outbreaks of an infectious diseases like smallpox or <div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQtUgXk0G9AqIBt3okwsnNpvSgvw0dwszlxdYKBH0rxWGruWgGBsW26n_ELLWA0Q6uYBBMQ9XhcimAtZ0LYxloIo99YQGJjbM4nXT8yqM5042n2YYsBOMZNlGZGy-bdbbd24zQo_grjnD5/s1102/nejmp2011418_f1.jpeg" style="display: block; padding: 1em 0; text-align: center; clear: right; float: right;"><img alt="" border="0" height="320" data-original-height="1102" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQtUgXk0G9AqIBt3okwsnNpvSgvw0dwszlxdYKBH0rxWGruWgGBsW26n_ELLWA0Q6uYBBMQ9XhcimAtZ0LYxloIo99YQGJjbM4nXT8yqM5042n2YYsBOMZNlGZGy-bdbbd24zQo_grjnD5/s320/nejmp2011418_f1.jpeg"/></a></div>cholera spread, people in their paths could only wait, hide and pray--in the nineteenth century, for example, newspapers might chronicle the day-by-day progression of an epidemic towards you, but there wasn't much you could do about it. You could wait to contract childhood diseases such as measles, mumps and chickenpox--your parents were probably expecting them to get you and to stoically nurse you through, knowing that in surviving them, you were immune from getting them again.
My generation (I was born in 1941) is probably the last to experience some of these epidemics. Sanitary conditions had certainly cut the rate of baby deaths and many of the risks of it to our mothers. We were immunized against smallpox and diptheria by then, but not measles, mumps and chickenpox. I got them all between the ages of 6 and 7. The only one I remember was measles. I came down with it at my grandmother's house, my temperature spiked at 104, and I became delirious. I was put to bed in my grandparents' bed (I don't know where they slept during the 3 weeks I was sick), and my mom camped out there too. I can remember having weird visions in the darkened bedroom. And all everyone could do was wait and hope. Well,
I'm still here. The following year (1948), I had rheumatic fever, and was supremely lucky to receive penicillin, just becoming authorized for civilian use.
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoAv0H58lLvRA6rnapRSFHJMc-a9Vd4GWLlKyb6NG09WbIxoUHQEG_q4XLWKxR7Q-Sy53NR4om4wsXX624ZIHMhA4_Ap6zZupggVsl9UZgUfWI_rN5fHw4Hm7piBbV9hKws-GUoc7KmHnw/s1440/WMYJ2DJU4LB4LQRQS2YVDPMUOM.jpg" style="display: block; padding: 1em 0; text-align: center; clear: left; float: left;"><img alt="" border="0" width="320" data-original-height="810" data-original-width="1440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoAv0H58lLvRA6rnapRSFHJMc-a9Vd4GWLlKyb6NG09WbIxoUHQEG_q4XLWKxR7Q-Sy53NR4om4wsXX624ZIHMhA4_Ap6zZupggVsl9UZgUfWI_rN5fHw4Hm7piBbV9hKws-GUoc7KmHnw/s320/WMYJ2DJU4LB4LQRQS2YVDPMUOM.jpg"/></a></div>
As more immunizations became available, we rushed to get them. Everyone was vaccinated for smallpox at birth, but when I was in second grade in 1949, a foreign tourist came down with a case in New York. Everyone in my school, students, staff and kids, were marched down to the school cafeteria, and revaccinated. No questions asked. There were only 12 cases of smallpox that year, all in New York, and most occurring in the hospital where the carrier was. Since then, there hasn't been a single case in the U.S--and it's been wiped out worldwise since 1980..
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSa66QoHDL44Hjpm9bPMj72uiMBOX-U1Owja-YaYTglyNCFRBgQfEbRhDPCT7DbfuVuHf2Ge_V_INsGTlD7fcbilNfvHm7LhrFjvdfzAJnVlEgaOuLbm3lDxWnQFvOwpAEhgz9Jp1vDb4j/s2048/1950s_ironlungs_1.webp" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="1153" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSa66QoHDL44Hjpm9bPMj72uiMBOX-U1Owja-YaYTglyNCFRBgQfEbRhDPCT7DbfuVuHf2Ge_V_INsGTlD7fcbilNfvHm7LhrFjvdfzAJnVlEgaOuLbm3lDxWnQFvOwpAEhgz9Jp1vDb4j/s400/1950s_ironlungs_1.webp"/></a></div>In the early 1950's, prior to the Polio Vaccine, which debuted in 1955, polio came every summer; it paralyzed so many children--and Franklin Roosevelt too--and there were all-too-common photos of children limping along in heavy braces or encased in iron lungs to help them breathe. Public swimming pools, movies and anywhere kids congregated were closed down. I escaped going to sleep-away summer camp that year, and so avoided a situation in which several campers were infected, and one died. I played with my nextdoor neighbor the day before he came down with it and my mother had I fit. We all worked to save money and held fundraisers to contribute to vaccine research, and when it came, we all lined up with enthusiasm to get it.
The speed in which Covid 19 vaccines were researched and then made available--for free, has no medical precedent for such a major event.
I must say outright that I can't understand why anyone would not want to be vaccinated against Covid-19, or any other potentially fatal disease. Reliable scientific studies have revealed that since vaccines for diseases such as measles, diptheria, polio and numerous other infectious diseases have become available, the mortality rates of children under 15, which was historically averaging 46% until the middle of the 20th century (that for infants below the age of 1 was 26%) has been cut worldwide to 2% or less.
I've taken every vaccine I could get, because I can remember what it was like before this was possible. I haven't turned into Frankenstein or a crocodile, and my brain is wholly mine and functionally sharp. Why wait?
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An Article about Historical Diseases and Effectiveness of Vaccines: https://jamanetwork.com/journals/jama/fullarticle/209448...
An article about the history of Child mortality:https://ourworldindata.org/child-mortality-in-the-past
Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-49676800013664187332021-05-13T11:23:00.002-07:002021-05-13T14:07:12.421-07:00 Lucy and the Four Bullies<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbEnJ_EaWIPyGIAIiKdfnnPGvMf4IL_aT-wcuAWDjU9JNATnChiureM3UdwJIMiZnB-_qXnwYlA0pTifBRefNhxZJ_X1ltA9wSz9sswYDsUq0gGnmsClfKJ-MuL1OjQls1wlzmIZNHG-V1/s930/tobin_lucia_page_graphic_1600x900.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="523" data-original-width="930" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbEnJ_EaWIPyGIAIiKdfnnPGvMf4IL_aT-wcuAWDjU9JNATnChiureM3UdwJIMiZnB-_qXnwYlA0pTifBRefNhxZJ_X1ltA9wSz9sswYDsUq0gGnmsClfKJ-MuL1OjQls1wlzmIZNHG-V1/s400/tobin_lucia_page_graphic_1600x900.jpg"/></a></div>
Last week San Antonio Opera did a stripped-down Covid-friendly live performance of Donizetti's Lucia de Lammermoor with rising stars Brenda Rae (Lucia), Scott Hendricks (Enrico), Scott Quinn (Edgardo), and Musa Ngqungwana (Raimundo). This semi-staged production cut to the chase: the chorus was eliminated, so the drama had to be carried by key soloists. It worked very well, and Rae did a spectacular mad scene.
Composed by Gaetano Donizetti and his librettist Salvatore Cammarano and first produced in 1835, the plot was based on The Bride of Lammermoor by Walter Scott, written on commission in 1835. Scott himself based it on a late 17th-century historical incident concerning a noblewoman named Janet Dalrymple, who, forced to renounce her true love and marry a suitor approved by her family, stabbed him on their wedding night and though he survived, she shortly afterward died insane.
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTIXTM56M-DnZjSb4KxHysCnb0gIGWYEqspL0fDXcDy128H9U7EkUU0fsTam2mU9mmJ9mlLr65aRhaArLT4R93uFeN2NilUHfmUpWMJWVGmg8gjAR2vd9nwZhQPAI0aLo64Ww2v2oiDK6N/s1455/1200px-Sir_Henry_Raeburn_-_Portrait_of_Sir_Walter_Scott.jpg" style="display: block; padding: 1em 0; text-align: center; clear: left; float: left;"><img alt="" border="0" height="200" data-original-height="1455" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTIXTM56M-DnZjSb4KxHysCnb0gIGWYEqspL0fDXcDy128H9U7EkUU0fsTam2mU9mmJ9mlLr65aRhaArLT4R93uFeN2NilUHfmUpWMJWVGmg8gjAR2vd9nwZhQPAI0aLo64Ww2v2oiDK6N/s200/1200px-Sir_Henry_Raeburn_-_Portrait_of_Sir_Walter_Scott.jpg"/></a></div>
Scott's novel has many plot twists and retained the real villain-- the girl's ambitious mother, who engineered the estrangement of the original suitor via fake news (in this case, forged letters). The novel, set in 17th-century Scotland, is full of the complicated politics of the time, and pits the heroine's (here renamed Lucy) family against that of her true love (Edgar), who are on opposite sides both politically and as the result of a feud that has been going on for generations. On both sides there are crises of property ownership and many machinations and changes of plan that eventually lead to Lucy's forced marriage to Arthur <div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-aKORvZEAlED5uCdoSX3d3IOogSNy2HWsVphbY7qujSL9MLlFSvu8LnlXbdeBMRKu2H9E6JVrn3z5gmxAtIMdSmWYGW7dbI4eDa1sb6u-w3O4f-1ZY0TjIsRNasonym1e1n9DlA8glpGc/s1955/198_3.jpg" style="display: block; padding: 1em 0; text-align: center; clear: right; float: right;"><img alt="" border="0" height="200" data-original-height="1955" data-original-width="1465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-aKORvZEAlED5uCdoSX3d3IOogSNy2HWsVphbY7qujSL9MLlFSvu8LnlXbdeBMRKu2H9E6JVrn3z5gmxAtIMdSmWYGW7dbI4eDa1sb6u-w3O4f-1ZY0TjIsRNasonym1e1n9DlA8glpGc/s200/198_3.jpg"/></a></div>Bucklaw, whose wealth and influence can salvage her family's fortunes. Lucy, like Janet, loses her reason, stabs her husband, again not mortally, on their wedding night, and she soon after dies.
/a></div> The novel proved very popular. In the early 19th century, Scotland was considered wild and exotic, a perfect setting for romantic tragedies (think Mendelssohn's Hebrides Overture and the ballet La Sylphide). At least five operas by others, all now forgotten, were based on The Bride of Lammermoor before Donizetti and Cammarano took it in hand, all with plot variations and various characters from Scott's novel that didn't make Cammarano's cut.
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6fUtorXt0tJP__SrW2u24gqD7Nu_bRgim5GfCKDUQTLB0dPqPZ9syCK6yJC5LaN2z1j3HDfpapeApyNlzBOPt5kwJWL1a7ajZoRXl3FbhS1Jpz8yd_G7hm9ldAmWydM1-GlqIeGZNUQHT/s652/470166_v9_ba.jpg" style="display: block; padding: 1em 0; text-align: center; clear: left; float: left;"><img alt="" border="0" height="200" data-original-height="652" data-original-width="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6fUtorXt0tJP__SrW2u24gqD7Nu_bRgim5GfCKDUQTLB0dPqPZ9syCK6yJC5LaN2z1j3HDfpapeApyNlzBOPt5kwJWL1a7ajZoRXl3FbhS1Jpz8yd_G7hm9ldAmWydM1-GlqIeGZNUQHT/s200/470166_v9_ba.jpg"/></a></div>Donizetti and Camarrano trimmed the story down and modified it, basically reducing it to the family feud and Lucy's cruel fate. The wicked mother and Lucy's two brothers of Scott's novel are conflated into Enrico Ashton, Lucia's (whose name is now Italianized, as are all the characters) older brother. Even though Enrico and his family have ruined the clan of Edgardo her true love, Enrico, as a result of backing the wrong party politically, is on the verge of ruin. His only hope of salvation is to marry off his sister to someone rich and influential: Laird Arturo Bucklaw. No matter that Lucia and Edgardo have secretly gotten engaged, Enrico forges letters he gives to Lucia, allegedly from Edgardo, saying that he's renouncing the betrothal because he's fallen in love with someone else.
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5e0ga8Df7-cYIZ4nlUdn__sOX0-N65BvtKMptk0uNs1hXiD6BWlVZv90E3m6ou2_fklefq3UoYf9Q_LGKxiVLyzKqEUPnNQtROBqXeAS3ICP9sOMMAG_zGKmxTitVe4coXOp3NsEJc8l4/s512/XE115260_Madame-Persiani-in-Lucia-di-Lammermoor.jpg" style="display: block; padding: 1em 0; text-align: center; clear: right; float: right;"><img alt="" border="0" height="320" data-original-height="512" data-original-width="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5e0ga8Df7-cYIZ4nlUdn__sOX0-N65BvtKMptk0uNs1hXiD6BWlVZv90E3m6ou2_fklefq3UoYf9Q_LGKxiVLyzKqEUPnNQtROBqXeAS3ICP9sOMMAG_zGKmxTitVe4coXOp3NsEJc8l4/s320/XE115260_Madame-Persiani-in-Lucia-di-Lammermoor.jpg"/></a></div>
Lucia is already in a fragile state: her mother, presumably kinder and gentler than Scott's wicked Lady Ashton, has recently died, and she's in mourning. She sees Edgardo not only as a lover and a protector, but the way out of a terrible family situation. She's worried though and sees the ghost of unhappy ancestor girl who had died as the result of the family feud out in the family park.
Browbeaten and lied to by her family and an allied clergyman, she agrees to marry the laird, but just after signing the marriage contract, Edgardo comes back. Since he doesn't know that she was tricked by the forged letters, he's furious, denounces and curses her, and storms out, without listening to any explanation she might have. For Lucia, that's the final straw, with nowhere to go, and the prospect of a lifelong loveless marriage, she goes mad, stabs her new husband to death, and vents out in a spectacular mad scene in front of the wedding guests, then dies. In despair, Edgardo kills himself in the family graveyard.
It all sounds over-the-top and ridiculous now (could Edgardo have been so easily deceived today in the age of cellphones and twitter)? But this opera remains a perennial favorite even if it's melodramatic and contains many set pieces of its period in its solos and ensembles--and the sextette and mad scene are high art and brilliantly crafted.
But I think there's a more important reason that Lucia still resonates, for it is a stark (though theatrically over-the-top) tale of extreme bullying. Lucy has to be one of the most helpless and bullied people in operatic and theatrical history. Her brother sees her only as a means of saving himself--her life and self-fulfillment count for nothing. Her true love is her whole world; he has two preoccupations--her and the purity of her love, and his own ambitions, including his feud with her brother, and the minute she appears to renounce him, he objectifies her as tainted and brutally curses her out, refusing to hear her side of the story (as Gordon Lightfoot put it: "Heroes often fail"). Lucy's approved bridegroom seems to be an entitled, brainless snob--his expectation of her is to be a virgin (this is implied not stated), and she'll be ornamental--perhaps soon to be cheated on. Probably worst of all is the clergyman Raimundo who seems to be sympathetic to the girl, but eventually accepts the ruse and who warmly counsels her to go through with the marriage and carry on. In his smooth and silky way, he, another authority figure, is a bully too. Even her female companion, Alicia, doesn't dare to speak out--after all, Enrico is probably paying her salary.
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOIFUu7fJO814DLdCPzWBQHX2XVkjaMsbeaR1FGEFrQCHpiWb5_5Zg9j5xXJUOD5qUbCzhEPk-Ui8TsTGyneo29DWMN2Q0Hfh8DkpAZ38lT32JpOR1nDznnSjBukkhY8u6EVwkYi6sJpsL/s2048/Lucia_and_Edgardo.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOIFUu7fJO814DLdCPzWBQHX2XVkjaMsbeaR1FGEFrQCHpiWb5_5Zg9j5xXJUOD5qUbCzhEPk-Ui8TsTGyneo29DWMN2Q0Hfh8DkpAZ38lT32JpOR1nDznnSjBukkhY8u6EVwkYi6sJpsL/s400/Lucia_and_Edgardo.jpg"/></a></div>
The story transcends its historical time. I watched the Met Opera production of Lucia online with Natalie Dessay, the great Lucia of her generation from 2011. The Met version updated the story from the 17th century to the 1880's--that's fifty years later than when Donizetti wrote it, and it still works.
Of course, in those days, once married, as a woman you would probably be ostracized perhaps a pariah if you divorced or were found to be unfaithful. The man you married would control your financial assets, could fool around outside the marriage, and could keep you sequestered at home if he wished--or even commit you to an asylum if you proved too unmanageable. And you had to be a virgin and never be unfaithful--in those pre-DNA testing days, how else could he be assured that the children you bore were really his? And if you were a noblewoman, you probably had better clothes and food than your working-class sisters, but you lived your life more in public. If you "escaped?" what would you do? Where would you go? How would you support yourself? If you were Catholic, you could retreat to a convent: that would exempt you from the childbearing marathon, but you would be essentially shut off from worldly society, and certainly not having any more guys as friends.
In the past century, things have changed, and we are now freer to pick and choose, although some studies seem to show that the odds of a happy marriage in this day and age are about the same whether a person chooses or is chosen for.
What has not changed since the era of Lucia is the issue of bullying. As humans, we seem to be hard-wired to bully others when the situation arises. Although woman have always historically been viewed as potential victims, bullying certainly transcends gender and knows no real social class: it's been done by American Presidents, any number of dictators, bosses or superiors at work, kids at school. Up until recently at least, most of us have at least assumed civility and respect in public, but this doesn't account for what goes on behind closed doors. Newspapers, television and social media as well are full of it; as a matter of fact, it seems to drive or at least be a major factor in so many books, films and TV series (think Game of Thrones for starters). Mostly we are glad to see endings in these media where justice is ultimately done, but its bullying behavior that is often responsible for its initial miscarriage. After all, aren't mass murders and school shootings ultimate forms of being a bully, though ultimately the homicidal killer probably learned this behavior by being bullied him or herself.
We have more social tools, resources and therapies to help avert it now, but it's not always available to those who need or can afford it. Poor Lucia had nowhere else to go, put her only egg in Edgardo's basket--and there it broke.
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Walter Scott's The Bride of Lammermoor is available at https://www.gutenberg.org/files/471/471-h/471-h.htm
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The San Antonio performance is live-streaming until June 6. It can be accessed at: https://www.operasa.org/lucia-livestream?ss_source=sscampaigns&ss_campaign_id=609ac803b71af84e5a362052&ss_email_id=609adc6ab306544dc31ecfc3&ss_campaign_name=Curtains+Up+-+May+11%2C+2021&ss_campaign_sent_date=2021-05-11T19%3A35%3A15Z
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Natalie Dessay's 2011 performance at the Metropolitan Opera can be rented for $4.99 at their website.
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Several free You tube full performances are available on their site, as well as some full sound recordings, and plenty of mad scenes too. See the list at: https://www.youtube.com/results?search_query=Lucia+di+Lammermoor
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An article on the other operas based on Scott's novel is at: https://utahopera.org/explore/2017/03/the-brides-of-lammermoor/
Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-78586358985895076142021-04-28T10:25:00.000-07:002021-04-28T10:25:34.977-07:00In Covid Times, or The Big 8-0: where would I be without Vaxes?
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsdubCerHaXgilFILmU7xHI4pIh0NJl1INlVK67M0iQ1bhjSUFsqB1EMC7L7JHaxxg0H-XfYKKFnchZ6RGYKpnWuQNOcy8ZLNjHbaHnjNhH_xITJhGvnpzezNKawaVv1Vc0A043exiOF-s/s2048/merlin_174293325_b383aca7-5ae6-4923-a029-03dd665d16ac-superJumbo.jpg.webp" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="1306" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsdubCerHaXgilFILmU7xHI4pIh0NJl1INlVK67M0iQ1bhjSUFsqB1EMC7L7JHaxxg0H-XfYKKFnchZ6RGYKpnWuQNOcy8ZLNjHbaHnjNhH_xITJhGvnpzezNKawaVv1Vc0A043exiOF-s/s400/merlin_174293325_b383aca7-5ae6-4923-a029-03dd665d16ac-superJumbo.jpg.webp"/></a></div>This is a sort of personal musing after such a long hiatus for Covid times. But this morning, this headline was in my daily newspaper:
"VACCINATED WORKERS BANNED AT FLA. PUBLIC SCHOOL"
The story went on to say that a school has been established by anti-vaxers, and they would not hire anybody who had had a covid shot. I'm assuming these guys were born yesterday. If they were as old as I am (80), they would remember a world without many of them, and the fear and misery this lack used to cause.
I'm glad I've reached this age, but 100 years ago I certainly wouldn't have reached it. Aside from surgeries for a few parts replacements, I was born in 1941, and at that time there were no antibiotics to treat sicknesses, and few vaccines to prevent them. We were all vaccinated against smallpox at birth, and as little kids we were vaccinated against diphtheria and tetanus, but that was about it.
Lack of birth control aside, one of the reasons that people had so many kids up to the early 20th century and earlier was because it wasn't unusual to lose a few of them to lethal childhood diseases. There was nothing much to do but pray if your child got sick. The shots we take for granted now didn't exist then, and the general attitude was to let your kids catch measles, mumps, chickenpox and whooping cough, and hoped they'd recovered fine, because then they'd have immunity. I managed to dodge the bullet of whooping cough but got all three of the others when I was six and got the measles so badly that I was delirious and had a temperature of 104. I was lucky that I recovered, and with outside effects that sometimes come with it. We tend to forget that Measles wiped out more native Americans than wars did.
In the bad old days, people would hear or read in the news about imminent epidemics and knew that they couldn't do anything about it but wait for it to come and pass and hope they didn't get it. In my childhood, before the Polio vaccine, parents would dread each summer, the usual season for the disease. I played with my next-door neighbor the day before he came down with it, and my mom was petrified for a few weeks, until it was evident that I didn't catch it. I did get rheumatic fever, though--that comes off a strep infection and there were no antibiotics then. Luckily, that was just after World War II, and penicillin had just been released for the general public and I was able to get it.
Public health measures, when available, were more draconian too. In 1947, I was growing up in New York, and a man landed in the city from abroad with smallpox. No matter if we were vaccinated against it at birth, who knew how long that protection would last? My entire elementary school, students, teachers and staff were taken down to the cafeteria one day and we were all vaccinated again. More than a million schoolkids were inoculated en masse when the Salk vaccine came out, and the rest of us got it as soon as we could.
The Covid epidemic is a wakeup call. For a year, we experienced what our grandparents did with far more frequency. Nobody realizes how awful these sicknesses are until
you get them. I got my covid shots as soon as they were available. I'm still here and would like to be here for a while longer.
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For an amazing website on the history of Vaccines, see:<a href="https://www.historyofvaccines.org" target="_blank"></a>Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-55442872878033634402020-09-17T13:56:00.000-07:002020-09-17T13:56:05.246-07:00A Little Touch of Harry In the Blight: Henry V in 1944<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_flcX6SmpZO_WD2sH0y6F9ER2_9I2zbJHKsGyUPzDWqBg-qtH_3yBHfTRUDOEh2we-jV3_KBAQ9oObZsB1yWFook8pbqjON6oIGSkk6RuQwi4dt2kTqCoI9dmgBI28ot9Iad46Su_Am_q/s2048/Henry-V-Sir-Laurence-Olivier.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_flcX6SmpZO_WD2sH0y6F9ER2_9I2zbJHKsGyUPzDWqBg-qtH_3yBHfTRUDOEh2we-jV3_KBAQ9oObZsB1yWFook8pbqjON6oIGSkk6RuQwi4dt2kTqCoI9dmgBI28ot9Iad46Su_Am_q/s2048/Henry-V-Sir-Laurence-Olivier.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuk78hbcE1BA9WpB9rjyD2fAQUbG-d6Qn33y3ETAoINGVt0QNwD-CjhWm7n2_yMvyQhyphenhyphen-zctB1s_g-Re8esK_2l2KAybeWQR0DFYKVtrflD1UgaoEFPZsHYYxf8nfgxHQ9UYkFZPhOzDi8/" style="margin-left: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuk78hbcE1BA9WpB9rjyD2fAQUbG-d6Qn33y3ETAoINGVt0QNwD-CjhWm7n2_yMvyQhyphenhyphen-zctB1s_g-Re8esK_2l2KAybeWQR0DFYKVtrflD1UgaoEFPZsHYYxf8nfgxHQ9UYkFZPhOzDi8/" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaTBTkQOQrW510R2eTAO1Uv5cIK68SOSoKDsLARgXc9KMJ-8eEEGkBNr_OtAInQ8IqstUic9VoUeBC955VGAO-UeoErfGlSkiDxaeGsZYoCx1EfAeHFB4qeJmYcOU-B0K8RsKuXVWvvwOH/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="255" data-original-width="197" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaTBTkQOQrW510R2eTAO1Uv5cIK68SOSoKDsLARgXc9KMJ-8eEEGkBNr_OtAInQ8IqstUic9VoUeBC955VGAO-UeoErfGlSkiDxaeGsZYoCx1EfAeHFB4qeJmYcOU-B0K8RsKuXVWvvwOH/w209-h271/image.png" width="209" /></a></div><br /></div><br /><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcfI0bUPQLFhYK2rSYlEzeKYDRFoxMPQZAe4D5q7YK39hNSmgNoCYjPrQFcQXKZEZ-7TN6969vqSp3OO3WwznOlaYrXjCqYJhA0s3PjH_64aVbsvcydJ0PmbsH0YSPQPeIMijC6m-QzTpC/s1676/1200px-King_Henry_V_from_NPG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcfI0bUPQLFhYK2rSYlEzeKYDRFoxMPQZAe4D5q7YK39hNSmgNoCYjPrQFcQXKZEZ-7TN6969vqSp3OO3WwznOlaYrXjCqYJhA0s3PjH_64aVbsvcydJ0PmbsH0YSPQPeIMijC6m-QzTpC/s1676/1200px-King_Henry_V_from_NPG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxnZhfvJZTmE_PTUlh-GG3FwSOg8l8kc-EQ-cAFmb_9iavyxEJIJrGor1vlAXIx5yqoNHtrklufRJXIxKkZLukYJkazu180UaIc8AkesNQhLeNo-yNZM6bqY9VVbcXeJ_MgDPI-AWddjJO/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="320" data-original-width="229" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxnZhfvJZTmE_PTUlh-GG3FwSOg8l8kc-EQ-cAFmb_9iavyxEJIJrGor1vlAXIx5yqoNHtrklufRJXIxKkZLukYJkazu180UaIc8AkesNQhLeNo-yNZM6bqY9VVbcXeJ_MgDPI-AWddjJO/w209-h291/image.png" width="209" /></a></div><br /><br /></div><br /><p><span style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;">England, 1944: still fighting in World War II.</span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;">In the fall of that year, Laurence Olivier's film version of Shakespeare's</span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><i style="font-family: verdana;">Henry V </i><span face="Calibri, sans-serif" style="font-family: verdana;">was released, two months after D-day.</span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;">It had been in production since the year before.</span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;">During this time, England was a drab place indeed, ravaged by the German Blitz bombings of 1940-41, and by 1944, though hope was increasing, there were shortages of things everywhere, the country was still in a belt-tightening wartime mode, and V-E Day would not come until May of the following year.</span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;">This film was made with backing from the British government's Ministry of Information, with an aim to giving some respite to the British public during this dark period, and this was the reason that the most brutal episodes of Henry in Shakespeare's play, such as the execution of the three treacherous English noblemen by order of the king were cut, and</span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;"> </span><span face="Calibri, sans-serif" style="font-family: verdana;">Henry's basic aggressiveness in invading France at that historical moment was glossed over, and the whole justification of the war, the issue of Salic Law, was made comic, while the doings of Pistol, Nym and their mates were rather sanitized.</span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: calibri, sans-serif; margin: 0in;"><o:p> </o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">Many of the criticisms made by film historians have to do with the integrity of Shakespeare's play itself, and its proper context within the grouping of Henry V, and Henry IV, parts I and II. To my reasoning, all of choices made in this production was the logical outcome of the film as a stand-alone production and the circumstances that drove its making in the first place. In that sense, it is more akin to Sergei Eisenstein's <i>Alexander Nevsky</i> (1938), also a morale-raising propaganda movie, which probably influenced Olivier's treatment of the Battle of Agincourt.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: verdana;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">Olivier and his production crew envisioned his version more as an extravagant pageant--an unreal, exciting yet comforting vision of a battle far removed from the realities of World War II, coming to us from a galaxy far, far, away. Not only that, there are two separate moments in time depicted here, one as a staged performance being done at the time of Shakespeare's Globe theater, the other, concerning the actual battle, in France of 1415, with a return to the Globe in 1600 at the end. In addition, the film was shot in Technicolor, with its bright saturated colors, making the Battle sequence even more spectacular.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: verdana;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in; text-align: left;"><span style="font-family: verdana;">The Globe theater scenes are filmed with a zoom-in Smithsonian "Arial Britain" style over a pristine model of 1600 London and seamlessly into the little Globe "wooden O" theater where the play itself is presented, with views of both audience and backstage, with the initial scenes in Elizabethan dress. The style of the actors' </span></p><p class="MsoNormal" style="margin: 0in; text-align: left;"><span style="font-family: verdana;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL6R5JzIcws5blCgbpBOGoSOPkZMRA3IEA7y0XR3tbftY-4othiSCBCVwvyxJKwuET15jPqFkWYuX2Mqoz1BCPGRwr5eGHQKu3wwyUdVo0RW5Uh0Jk7VN1oUTFSCqAn5Y6RgqcAAJCyOVk/s1920/henry-v-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL6R5JzIcws5blCgbpBOGoSOPkZMRA3IEA7y0XR3tbftY-4othiSCBCVwvyxJKwuET15jPqFkWYuX2Mqoz1BCPGRwr5eGHQKu3wwyUdVo0RW5Uh0Jk7VN1oUTFSCqAn5Y6RgqcAAJCyOVk/s1920/henry-v-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX1_8tqSDmw0gohiRC8yViQykGybxeWoBOKHZqd6z0oymAbsn7_tJg6Z2Bbh3TLIulsNLhmSqWdI9N0TfcQaPy4AbyVHA0MEZCztnBXXzibbWC-Eak8Wsq8daIf9vGFbKgVwMMeAxQPo5Z/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="180" data-original-width="320" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX1_8tqSDmw0gohiRC8yViQykGybxeWoBOKHZqd6z0oymAbsn7_tJg6Z2Bbh3TLIulsNLhmSqWdI9N0TfcQaPy4AbyVHA0MEZCztnBXXzibbWC-Eak8Wsq8daIf9vGFbKgVwMMeAxQPo5Z/" width="320" /></a></div><br /><br /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Henry V at the Globe</span><br /></td></tr></tbody></table>presentation is exaggerated with broad gestures and declamatory manner, and audience response is very robust. The makeup is equally exaggerated. There's even a rainstorm drenching the audience and players, but the show goes on. William Walton's score--contemporary British orchestrations of period music, provides accents.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: verdana;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">As soon as Henry begins his departure in Southhampton we enter the even more imaginary world of the 15th century as is verbally invoked by the play's Chorus. We know it is fantasy, because suddenly we've entered a 15th century as it is pictured in manuscripts of that period. Landscapes are painted with tilted perspectives, the distant fortresses also tilted--and broadly painted too. This is staged as are the Globe sequences, but in a totally different way, particularly as envisioned with the eyes of the Limbourg Brothers' celebrated book of hours of <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_fP5vE4dF0M3fX33nEKPfLNKCyJd5vIXdpSNYPOLfVyxAW0j1FGrE3oPD1slfXxVpl96qYsCUvYLhHiDnDsVoTgWTA5zkLmI7whk0hpI9g1ApsQOzRrS5hgla3gZUqrFn71DL4sRSnwp2/s2048/Les_Tre%25CC%2580s_Riches_Heures_du_duc_de_Berry_Janvier.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_fP5vE4dF0M3fX33nEKPfLNKCyJd5vIXdpSNYPOLfVyxAW0j1FGrE3oPD1slfXxVpl96qYsCUvYLhHiDnDsVoTgWTA5zkLmI7whk0hpI9g1ApsQOzRrS5hgla3gZUqrFn71DL4sRSnwp2/s2048/Les_Tre%25CC%2580s_Riches_Heures_du_duc_de_Berry_Janvier.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZxdIuy3fZ7oW_Z1Ktiz76BUlJ6fjK5k-h5qJ-xaPtcJfF6tg_Yq-h3gFrt4abxwSAHuxcEvia7KDPx4OnxDpPp4sa3qprOkRoKNh9gNKuxZr8wz1k0a1BhGn6-dRygXKU23HDtk1kCafS/" style="margin-left: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZxdIuy3fZ7oW_Z1Ktiz76BUlJ6fjK5k-h5qJ-xaPtcJfF6tg_Yq-h3gFrt4abxwSAHuxcEvia7KDPx4OnxDpPp4sa3qprOkRoKNh9gNKuxZr8wz1k0a1BhGn6-dRygXKU23HDtk1kCafS/" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi154j3G50AuaKufo2srPOZHxwpz-ccQPTk4zVdjjMTaB6uROr9vGROjsrgkG4kCuFdafkcH3ae7mzc2TpY0HdhyphenhyphenhB6qXh3v-MTeksZh0ub-zRQElMTja92eU9BnZFF-I0pEviz8VeAm9Ww/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="325" data-original-width="210" height="449" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi154j3G50AuaKufo2srPOZHxwpz-ccQPTk4zVdjjMTaB6uROr9vGROjsrgkG4kCuFdafkcH3ae7mzc2TpY0HdhyphenhyphenhB6qXh3v-MTeksZh0ub-zRQElMTja92eU9BnZFF-I0pEviz8VeAm9Ww/w290-h449/image.png" width="290" /></a></div><br /></div><br /><br /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: trebuchet; font-size: x-small;">Très Riche Heures… January</span></td></tr></tbody></table><br />1416--the <i>Très Riche Heures</i> of the Duke of Berry. The costume references are so specific, that the Duke of Berry in the play is dressed in a costume that almost exactly matches his portrait in the January Calendar page. The costumes of the other men invoke the same source, right down to the bowl-shaped haircuts of the younger men, the tall hats and turbans or <i>chaperons</i> on their heads, colored tights and long robes or shorter doublets. </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><br /></span></div><span style="font-family: verdana;"><br /><o:p></o:p></span><p></p><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><p class="MsoNormal" style="margin: 0in; text-align: left;"><o:p><span style="font-family: verdana;"> </span></o:p></p></blockquote><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: verdana;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuvlyaaTz4dZ7FgH8alrWnxP6Jq3j70pxI02ffJLzBcI3Yb4ZgLHpVpaL91_Ddqz4GGK8evBGwy7NSE-_wlqIkdthrPTvBo9i-_zPSKI6iRCuDihICxBGbqKqXVd26HRqwJawYSGTzNNCh/s474/Berri.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuvlyaaTz4dZ7FgH8alrWnxP6Jq3j70pxI02ffJLzBcI3Yb4ZgLHpVpaL91_Ddqz4GGK8evBGwy7NSE-_wlqIkdthrPTvBo9i-_zPSKI6iRCuDihICxBGbqKqXVd26HRqwJawYSGTzNNCh/s474/Berri.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNROWk53rMc6V3XxUBtzIafYLU0jZ1f_njSMz4YRFqMsGa4aSM1xEnBi__lJDnB0uKowJcFulOpXsS418mAU75kygsVD_vylU3_x8MQHDC4YXJ3hE306YNxbqX4WzoTH-Ezzik9j4jthjt/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="302" data-original-width="218" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNROWk53rMc6V3XxUBtzIafYLU0jZ1f_njSMz4YRFqMsGa4aSM1xEnBi__lJDnB0uKowJcFulOpXsS418mAU75kygsVD_vylU3_x8MQHDC4YXJ3hE306YNxbqX4WzoTH-Ezzik9j4jthjt/" width="173" /></a></div><br /><br /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: trebuchet; font-size: x-small;">Ernest Thesinger as Berry</span><br /></td></tr></tbody></table><br /></span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">The interior set of the King of France's palace evokes the images of architectural interiors in the illuminations too: thin columned and almost pavilion-like, some of these columns lacking shafts so as not to mask the characters' actions, and an interior entry point so tilted as to resemble a street access to a subway entrance marquee in New York City.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: verdana;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">These sets, and the painted landscapes with their bird's eye views of distant high castles and vertically sloping pathways are invocations of the labors of the month calendar pages from the Berry manuscript, brilliantly achieved by matte paintings produced by Walter Percy and his associates. These create seamless setting for the real actors, skillfully placed so as not to seem out of scale. Foregrounds often have jagged rock faces.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: verdana;"><br /></span></o:p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; font-family: verdana; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1VC12_at6ybR_tY77VWShVXtzcUZqXYiuNdKtIZQ5tS1UCmAYCczwm3CyjdqMbkCFqycqpKYdE1CRrwi0qVX0ZMJwMLIrgdoety0mgcFeoJ-gBO2CUdOYpiRZKcXcg-ssK3W0tdYmSWY9/s310/henryv1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-size: x-small;"><img border="0" data-original-height="241" data-original-width="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1VC12_at6ybR_tY77VWShVXtzcUZqXYiuNdKtIZQ5tS1UCmAYCczwm3CyjdqMbkCFqycqpKYdE1CRrwi0qVX0ZMJwMLIrgdoety0mgcFeoJ-gBO2CUdOYpiRZKcXcg-ssK3W0tdYmSWY9/s0/henryv1.jpg" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Walter Percy Matte design</span></td></tr></tbody></table><br /><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: verdana;"><br /></span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">Added to this festive artificiality is the color scheme of the costumes in the fifteenth-century sections. They are bright in hue and conceived in broad sweeps of ultramarine and vermillion--expensive pigments back then, as well as yellow, grass green, and of course a lot of metallic silver for armor. When the foot soldiers are massed, we are shown tiers of helmeted figures holding flags and spears.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: verdana;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal" style="margin: 0in;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx1wyB_LLFrea-CUVvAiU2pfRZDxFq1Uz3eNO7RB_5xuKSien9KKllDclP_2aUnsd6ytZlQY_I2vbrdgTaY_vHOY3lxLE1aVuTcGme47vJOy4j2ub8qQtogNVXgaYZnQ2du9LIhIhqSnYb/s1847/Les_Tre%25CC%2580s_Riches_Heures_du_duc_de_Berry_mars.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1847" data-original-width="1144" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx1wyB_LLFrea-CUVvAiU2pfRZDxFq1Uz3eNO7RB_5xuKSien9KKllDclP_2aUnsd6ytZlQY_I2vbrdgTaY_vHOY3lxLE1aVuTcGme47vJOy4j2ub8qQtogNVXgaYZnQ2du9LIhIhqSnYb/s320/Les_Tre%25CC%2580s_Riches_Heures_du_duc_de_Berry_mars.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Très Riche Heures: March</td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJH6ss7RmhVKGJt81MlDCk2TlvtYxOWwkmcMuTXVNhzSBBZUFHMmV2fR6lFkIjzyKwMerVE_gtFkFFjv0R_rDUFsrkv9IyBRST28sLyIsn6aoK3549PGx7dxs_aQrJSr2rSbx_VMU8IkH2/s1000/henry-v-1944-004-laurence-olivier-horse-before-battle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="751" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJH6ss7RmhVKGJt81MlDCk2TlvtYxOWwkmcMuTXVNhzSBBZUFHMmV2fR6lFkIjzyKwMerVE_gtFkFFjv0R_rDUFsrkv9IyBRST28sLyIsn6aoK3549PGx7dxs_aQrJSr2rSbx_VMU8IkH2/s320/henry-v-1944-004-laurence-olivier-horse-before-battle.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Henry Before the Battle</td></tr></tbody></table><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">The battle scenes were filmed in Ireland in actual landscapes, fairly flat and very green. The charge of the French troops certainly owes much to Eisenstein's filming of the battle on the ice of <i>Alexander Nevsky</i>, but here they are also like the battles in French Manuscripts, including one in Enguerrand de Monstrelet's <i>Chronique de France</i> of the battle of Agincourt itself (though the actual illustration postdates the battle by eighty years).<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: verdana;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">Paradoxically, the lines in the 1415 sections are said much more naturalistically than those at the Globe. The rousing cheerleading of Henry's "Sts. Crispin and Crispinian speech, recited this way, serves to introduce the battle of Agincourt itself. The ground is muddy, as has been historically noted, but not enough to impede the French charge. There is blood and chaos in the battle, but certainly no hacked-off body parts. One of the most exciting special effects here is the perfect grid pattern of the English archers' arrows against the sky hurtling towards the mounted French troops. I've seen this film several times in theaters, and the audience gasps as this happens every time; it's as good as any modern special effect. Towards the end of the battle, when Henry unhorses the Constable of France in single combat, the battle becomes a tournament.<o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><o:p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_372zBX_CTmbBMpQIwMLh4TTELf8AA-2BnfcU8G7EBnLjyBIfBEuPI5lno0Ns5z_pu8R7xsZoQT6diojUuWoKQS4O0-SizcukbHQYG2Np9VLr-ypR-9NgVw__l1ZQ1E53i0lBbbtd3hy2/s952/Enguerrand_de_Monstrelet_-_Slag_bij_Azincourt.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="952" data-original-width="702" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_372zBX_CTmbBMpQIwMLh4TTELf8AA-2BnfcU8G7EBnLjyBIfBEuPI5lno0Ns5z_pu8R7xsZoQT6diojUuWoKQS4O0-SizcukbHQYG2Np9VLr-ypR-9NgVw__l1ZQ1E53i0lBbbtd3hy2/s320/Enguerrand_de_Monstrelet_-_Slag_bij_Azincourt.jpg" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Enguerrard de Monstrelet: Agincourt</td></tr></tbody></table><br /><span style="font-family: verdana;"><br /><br /> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">The set-pieces of the battle, the scenes at the French court and Henry's wooing of the Princess Katherine are all presented in the "International Gothic" conception of this fifteenth-century world. The viewer gets so enchanted that incongruities are accepted. The battle took place in October, but the scene suddenly switches to the <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv33Qhcy7zkdt1vsjvB8XubQZWrr3pKaOrG_aP1F9WY5H7OArOCb5qLFMHdFS2H6xyUhAB65Pc6re0RO_kfYF9GpiDFo_Pg_t5G3fXl9zoEu7cI-YE46BWrXQrPosf8HvSep6g4Er_2jMx/s624/83021446_h5013.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="351" data-original-width="624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv33Qhcy7zkdt1vsjvB8XubQZWrr3pKaOrG_aP1F9WY5H7OArOCb5qLFMHdFS2H6xyUhAB65Pc6re0RO_kfYF9GpiDFo_Pg_t5G3fXl9zoEu7cI-YE46BWrXQrPosf8HvSep6g4Er_2jMx/s320/83021446_h5013.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: trebuchet;">Henry and Katherine 1415</span><br /></td></tr></tbody></table><br />dead of winter so that the snow-covered February page of Berry's hours can be used for the interlude scene of Fluellen and his leeks, then switching abruptly back to the autumn of 1415 so that Henry can court his Princess.</span><span style="font-family: verdana;">Everything resolved, it's back to the Globe again where the actors portraying Henry and Katherine are seen once more in Elizabethan dress.</span></p><p class="MsoNormal" style="margin: 0in;"><o:p><span style="font-family: verdana;"> </span></o:p></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">If we look at his film today, we actually have to deal with not two, but four time periods. Besides the two shown in the film, we need to be aware of the late World War II environment when it was released and towards which it was aimed. Early showings of the movie had an inserted dedication to "the commandoes and Airborne Troops of Great Britain the spirit of whose ancestors it has been humbly attempted to recapture." And now, some 76 years later, we have to consider the film's debut in the historical context of that 20th century war. Maybe in our own bleak times of fire, flood, plague and conflict, we could use another movie like this one.</span><span face="calibri, sans-serif"><o:p></o:p></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">___________________________________________________________________</span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">You can rent the 1944 Henry V from Amazon</span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">Here are a few websites that discuss technical aspects of making this film:</span></p><p class="MsoNormal" style="margin: 0in;"><br /></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><a href="https://www2.bfi.org.uk/news-opinion/news-bfi/features/designs-laurence-olivier-henry-v-hamlet" target="_blank">https://www2.bfi.org.uk/news-opinion/news-bfi/features/designs-laurence-olivier-henry-v-hamlet</a><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><a href="http://www.thepropgallery.com/painting-in-pictures-the-lost-art-of-the-matte-shot" target="_blank">http://www.thepropgallery.com/painting-in-pictures-the-lost-art-of-the-matte-shot</a><br /></span></p><p class="MsoNormal" style="margin: 0in;"><br /></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">Many interesting posters and stills from the movie can be found at:</span></p><p class="MsoNormal" style="margin: 0in;"><br /></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><a href="http://michaelpjensen.com/henry_v_1944_page_1" target="_blank">http://michaelpjensen.com/henry_v_1944_page_1</a> (there are additional pages)<br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">Here are three diverse reviews/discussions on this film:</span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><a href="https://www.taoyue.com/film/henry-v.html" target="_blank">https://www.taoyue.com/film/henry-v.html</a><br /></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><a href="http://criterioncollection.blogspot.com/2005/10/41-henry-v.html" target="_blank">http://criterioncollection.blogspot.com/2005/10/41-henry-v.html</a></span><br /></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;">And an excerpt from Andre Bazin's <i>What is Cinema:</i></span></p><p class="MsoNormal" style="margin: 0in;"><span style="font-family: verdana;"><i><a href="https://books.google.com/books?id=y3EKWOUQtxcC&pg=PA76&source=gbs_toc_r&cad=4#v=onepage&q&f=false" target="_blank">https://books.google.com/books?id=y3EKWOUQtxcC&pg=PA76&source=gbs_toc_r&cad=4#v=onepage&q&f=false</a><br /></i></span></p>Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-90966687745332799992020-07-23T09:43:00.000-07:002020-07-23T09:43:37.741-07:00Fallen Monument Park: What to do with Used Heroes<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">
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<tr><td class="tr-caption" style="text-align: center;">San Antonio Express-News, 7/21/2020: p. 3</td></tr>
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This past Tuesday, National Public Radio's <i>Morning Edition</i> had a short segment on what I've always known as the "Park of Fallen Idols." I visited it in 2000, and of all the memories I have of a study conference in Moscow and Saint Petersburg that year, this is the one I remember best. SInce I've seen it, it has been expanded and now comprises part of the Muzeon complex, that also includes the Tretyakov Museum of Modern Art, a sculpture <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Lenins in the Park, Muzeon Complex, Moscow</td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;">workshop and contemporary exhibition space. Here, the problem is nicely solved as to what to do with many of those triumphant images of real or imagined heroes and leaders of discredited regimes, religions or causes lost. Numerous Lenins, Stalins and other titans of the USSR, and allegorical muscular workmen stand around on green lawns, often gesturing heroically, with nothing to do.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">The offending statues cited in the headline above</td></tr>
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At this very moment, we in the U.S. are in the process of toppling our own monuments to now literally fallen heroes, now images of Confederate soldiers, most standing, a few on horseback. Though they were memorials to the losers, we still see them as uncomfortable reminders of a horrific part of our history. The same can be said for sculpted monuments to Columbus, who as well know now, didn't "discover" America--even as a European; he only represents the advent of European colonialism. The Vikings before him and probably also European cod fishermen had already been there, but only came to get a few goods or hang out for awhile.</div>
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Tearing down monuments to disgraced former ideas or leaders has been around as long as humans have been making them. Just think of the obliteration of Pharoah Akhenaten's whole city of Akhetahten (Amarna) by his successors, or the legend of the Golden Calf--a <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Nicolas Poussin: <i>The Golden Calf</i>, London, National Gallery</td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;">would be rival to God by the stiff-necked Israelites and how that turned out. Sometimes, the destroyed monuments were simply erased, as in the recent case of the Taliban's destruction of the giant buddhas of Bamiyan. In other cases, they were destroyed, and new sacred icons replaced them; as in the fraught history of the Temple Mount in Jerusalem.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">The Bamiyan Buddhas: Before and After</td></tr>
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On the other hand, sometimes they have multiple evocations as in the instance of the Vendome Column, a colossal self-glorification of Napoleon in the form of a big Roman-style triumphal column like Trajan's that the Emperor of the French had made to commemorate the Victory of Austerlitz in 1805. It was (and is) located in the place de la Vendome, on the site of an earlier equestrian statue of Louis XIV, destroyed during the French Revolution. Like the Roman one, the column was very tall (at 44 meters, or around 145 feet, or taller than its Roman prototype by around 15 feet) with a spiral of imagery narrating Napoleon's victory, cast from captured cannons from the Austerlitz battle, and topped by a bronze image of Napoleon as a reincarnation of a Roman emperor. After Napoleon fell, the top effigy was replaced by several different flags, depending on who was in power, later by an image of Napoleon again in his more positive role as "the Little Corporal," and then, under his nephew, Napoleon III by a replica of the original Roman-style image again. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Fallen Napoleon: The Vendome Column 1871</td></tr>
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By 1871, after the Franco-Prussian war and Napoleon III's downfall, the revolutionary Communards who briefly held power had had enough. They pulled the whole thing down, and therein lies the tale of the painter Courbet's populist role in the demolition, for which he was briefly imprisoned, presented with the bill for the column's restoration, and caused him to self-exile to Switzerland. It was re-erected shortly afterwards in 1873 by the Third <o:p></o:p></div>
Republic <span style="font-family: Trebuchet MS, sans-serif;">with Napoleon-as-Roman Emperor on it once again and has stood unopposed in its luxurious plaza ever since. Nobody has seen fit to criticize it much since then, except for the architect/architecural historian Daniel Gissen's proposal to make a dirt-mound installation to temporarily cover the columns base in 2013-14 in order to commemorate the temporary demolition of 1871.</span><br />
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So, once those Civil War soldiers and Columbus are all taken down, what will we do with them? Many of them were previously in parks; do we collect them all like the Russians did? I bet that if we had all of the statues and monuments of former gods and heroes in one place, they'd occupy more space than Arlington National Cemetery does. When they were <i>in situ</i>, how many of us actually looked at them anyway? Why do visible symbols have such power? But that's not the real point: why must we continue to make these graven images at all? Are humans hard-wired to fashion visible idols?<o:p></o:p></div>
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The article in the <i>Express-News </i>covers the proposed monument demolition in Austin; many local newspapers in the U.S. have similar articles on other local examples. For another reference to the removal of a statue of Columbus from San Antonio, see:<a href="https://www.ksat.com/news/local/2020/07/01/crews-remove-christopher-columbus-statue-to-fix-vandalism/" target="_blank">https://www.ksat.com/news/local/2020/07/01/crews-remove-christopher-columbus-statue-to-fix-vandalism/</a></div>
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For a recent discussion of the Muzeon Fallen Heroes Park on NPR: <a href="https://www.npr.org/2020/07/21/892914684/what-to-do-with-toppled-statues-russia-has-a-fallen-monument-park" target="_blank">https://www.npr.org/2020/07/21/892914684/what-to-do-with-toppled-statues-russia-has-a-fallen-monument-park</a></div>
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For a nice overall discussion of the Bamiyan Buddhas: <a href="https://www.khanacademy.org/humanities/ap-art-history/west-and-central-asia-apahh/central-asia/a/bamiyan-buddhas" target="_blank">https://www.khanacademy.org/humanities/ap-art-history/west-and-central-asia-apahh/central-asia/a/bamiyan-buddhas</a></div>
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The most interesting succinct discussion of the Vendome Column can be found in the French Wikipedia article :<a href="https://fr.wikipedia.org/wiki/Colonne_Vend%C3%B4me#/media/Fichier:Colonne_vendome.jpg" target="_blank">https://fr.wikipedia.org/wiki/Colonne_Vendôme#/media/Fichier:Colonne_vendome.jpg</a></div>
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David Gissen's proposal to cover the Vendome Column's base with an earthwork can be explored at: <a href="https://www.cca.qc.ca/en/events/3430/the-mound-of-vendome" target="_blank">https://www.cca.qc.ca/en/events/3430/the-mound-of-vendome</a></div>
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Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-86051150486655571082020-05-05T12:59:00.002-07:002020-05-05T12:59:43.564-07:00Extremes and Escapes<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
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A memoir and Netflix series partially based on a memoir, both popular in these Coronavirus times, deal with young women overcoming very difficult childhoods that kept them apart from normal life in the US in parallel but, on the surface at least, widely divergent situations.<o:p></o:p></div>
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The first, <i>Educated</i>, by Tara Westover, which has spent several months on the <i>New York Times</i> bestseller list, deals with the narrator's departure from a survivalist family in Idaho. Her family lived at the edge of the wilderness. Although near a small town, Ms. </div>
Westover and her brothers were isolated from the LDS society of their families and other <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAtLzY-PJ0xP1-pKRqFeM1LECjvHuj9FLjzc5cC5ZFsfxaBGgk-xxjVQg5sxad9RWyVKOcRgGPPxqoISql0KDDgUIH3b77tl3y4Wp8eL17p4R3psn53bYw2PP1E_1eu48mRV4JuLd5BpcD/s1600/9780099511021.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1043" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAtLzY-PJ0xP1-pKRqFeM1LECjvHuj9FLjzc5cC5ZFsfxaBGgk-xxjVQg5sxad9RWyVKOcRgGPPxqoISql0KDDgUIH3b77tl3y4Wp8eL17p4R3psn53bYw2PP1E_1eu48mRV4JuLd5BpcD/s320/9780099511021.jpg" width="208" /></a>inhabitants of the town, both physically and psychologically. Her father owned a salvage yard at the foot of their property, in which all of his children worked alongside of him, sorting heavy machinery and machinery parts for resale. His wife was a midwife and an herbalist, whose tinctures of essential oils would later develop into a successful business, operated out of her home. The children were all home-schooled.<br />
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The term "survivalist" has many connotations, but one of these refer to people who basically live isolated from society and strive to be as totally self-sufficient as possible. Though both parents were Mormon in their upbringing, Tara's Father developed his own religious philosophy, based on his own interpretations of the Old and New Testament, upon which he expounded frequently, and spent his time when not working laying in supplies for the inevitable day of judgement. He particularly identified with the Weaver Family of Ruby Ridge fame and was obsessed with the idea that the Feds would come for him and his family sooner or later, and that he needed to be prepared to resist--and perhaps martyred--if the Day of Judgement didn't come first.<o:p></o:p></div>
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There was a great deal of physical abuse in Tara's background, partially from injuries in the junkyard and various family construction projects. She herself was severely injured in the process, her father nearly died, and there were also two harrowing car accidents. All of this was complicated by the fact that her parents did not believe in doctors and trusted only her mother's herbal preparations to pull them through. What is remarkable that these remedies worked, though family members suffered scarring that medicine probably would have made less extensive.<o:p></o:p></div>
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In addition, she was repeatedly abused by one of her brothers over a considerable amount of time. As the children grew, their paths diverged in two directions. Tara and two of her brothers, in spite of haphazard homeschooling, were motivated to self-educate; all three three went on to receive Ph.Ds. The others remained largely illiterate and stayed in their father's business.<o:p></o:p></div>
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I don't want to say more here, if you haven't read the book, please do. Tara's story is extraordinary, and her drive to secure her education is a study beyond impressive, for not only did she achieve all of this without initially having a high school diploma, but she had to experience severe culture shock as she literally hit the world running at Brigham Young University, and later beyond even that world at Cambridge. In the process, she had to separate from her domineering father and some of her brothers, and then make some sort of emotional and psychological peace with that, a process that involved years of overcoming what was virtually PTSD.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKMuGRkNcgZWK6uYwI6RDE4aEZ_Z29z8Jy5RT5pfbxwrYxHs-e9hBv-LBYc8OfL0_6noOgBsR60PP84MvKM89tEC0SeO7hDrLMbw9jEl9C_jJ8NB3tSEr2nsT8dZhAcYaBEheRN3VuNtKl/s1600/s-l1600.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="656" data-original-width="425" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKMuGRkNcgZWK6uYwI6RDE4aEZ_Z29z8Jy5RT5pfbxwrYxHs-e9hBv-LBYc8OfL0_6noOgBsR60PP84MvKM89tEC0SeO7hDrLMbw9jEl9C_jJ8NB3tSEr2nsT8dZhAcYaBEheRN3VuNtKl/s320/s-l1600.jpg" width="207" /></a> Deborah Feldman's memoir <i>Unorthodox</i> and its sequel, <i>Exodus</i> narrate her equally harrowing departure from a confining situation, except here it is not the microcosm of a country family, but the macrocosm of a closed urban community: the Satmar Hasidim of Williamsburg, Brooklyn. The Satmars are one of the most extreme sects of the ultra-orthodox wing of Judaism. Organized around hereditary Charismatic Rabbis who each maintain their own communities of adherents, they are self-separated from American secular society, both Jewish and non-Jewish. The men wear distinctive black dress and hats, do not trim their beards, and have curled sidelocks. Women dress modestly, with long sleeves, modest skirts or dresses, and opaque stockings. Upon marriage they cut off their hair and wear wigs or other head coverings. Their everyday language is Yiddish, and they educate their children in that language. They marry only among themselves and arrange their children's marriages. Most have large families, and the Satmars believe that this is one of the essentials of their existence is to replace the six million Jews who were murdered during the holocaust, and the great fear that something like this might happen again. Their entire lives are dictated by strict <i>halacha</i>, or Jewish law. As a society within America, they are as closed as the Old Order Amish or polygamous members of the Fundamentalist Church of Jesus Christ of Latter-Day Saints.<o:p></o:p></div>
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Ms. Feldman was born into this community, and her two memoirs chronicle her early life among the Satmars, and her leaving the community. Like Westover, she came from a dysfunctional family: her father was mentally flawed, and her mother deserted the community when Deborah was a child; her mother was gay, completely unacceptable in the eyes of her family. Unlike Westover, Feldman was married off at seventeen to a member of the community and suffered a great deal of trauma consummating her marriage because of anatomical abnormalities, though she eventually bore a son. Unusual among the Satmars, she was able to keep custody of her son after she obtained a divorce and left.<o:p></o:p></div>
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Feldman had an equally difficult time adjusting to mainstream life; her trauma stems from the Satmar Community, holocaust survivors, and in many ways, she was as much a victim of post-Holocaust survivors as her grandparents, who raised her (like Westover, one grandmother provided some positive influence). Through persistence and an inner strength, she too was able to get a college education and is now a writer. After much moving around, she has finally settled in Berlin, where she writes in both English and German. Like Westover, she is a strong and articulate woman, and like her, has journeyed through the tribulations of PTSD. Her two volumes are also worth reading.<o:p></o:p></div>
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In 2020, the Satmar part of Deborah's life became the initial part of the Netflix series, also entitled <i>Unorthodox, </i>and she was a consultant on its production. However, the series' heroine, named Esther Shapiro (Esty's) process of adjustment to the outside world is different. In it, she is married, but escapes the community when she finds out that she's pregnant, and she flees directly to Berlin, where her mother has settled with her partner. It is as if she has entered not only a totally different place, but a new century. She is taken in by a group of multicultural music students, and eventually gains admittance to their elite conservatory via her extraordinary voice. She reconciles with her mother, is able to part from her husband, who follows her to try and bring her back, and leaves us to make her place in her new world.<o:p></o:p></div>
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Except for exteriors in the Satmar area of Williamsburg, the series, including the interior "Brooklyn" scenes was entirely recreated in studios in Berlin. If you do watch the series, also watch the additional "Making Unorthodox" episode, that shows how it was done. The Berlin footage is a love letter to that wonderful city, which incidentally has a growing Jewish population again.<o:p></o:p></div>
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I am writing this as a privileged American Jewish woman who has suffered little hardship, and who has had a successful American career and a comfortable, loving family life. I salute these two extraordinary women, who have overcome so much to be who they now are. Their books and the miniseries too, will transform your vision.<o:p></o:p></div>
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Tara Westover, <i>Educated</i>, Random House (2018) is still on the <i>New York Times Bestseller List, </i>and is available in all formats.<o:p></o:p></div>
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Deborah Feldman, <i>Unorthodox</i>, Simon and Schuster, now available as a 2012 reprint: <span style="color: #333333; font-family: Verdana, sans-serif; font-size: 10pt;">ISBN-10:</span><span style="color: #333333; font-family: Arial, sans-serif; font-size: 10pt;"> 1439187010. </span>You can also find it in a Kindle edition on Amazon.<o:p></o:p></div>
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Deborah Feldman<i> Exodus</i> (2014), is available in a Kindle Edition, and used print ones are available.<o:p></o:p></div>
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If you read German, Deborah Feldman's <i>Überbitten</i>, her revised and expanded memoir, written with Christian Ruzicska, just published by btb Verlag (2020), is also available in a Kindle edition.<o:p></o:p></div>
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Both the series, <i>Unorthodox</i>, and <i>The Making of Unorthodox</i> are currently screening on Netflix.<o:p></o:p></div>
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<span style="font-size: 12pt;">Tara Westover has her own website with information and links to interviews, etc. <a href="https://tarawestover.com/" target="_blank">https://tarawestover.com</a></span><span style="font-family: -webkit-standard;"></span></div>
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Interview with Deborah Feldman since she moved to Germany in 2013 can be found at:<a href="https://www.nytimes.com/2017/12/20/books/an-american-jewish-author-now-calls-germany-home.html" target="_blank">https://www.nytimes.com/2017/12/20/books/an-american-jewish-author-now-calls-germany-home.html</a><o:p></o:p></div>
Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-78714237931636371972019-10-25T15:05:00.002-07:002019-10-25T15:05:44.150-07:00Of Brick and Wood: Multicultural Masterpieces<div class="separator" style="clear: both; text-align: center;">
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Humans are the dominant species in our age. We are the most destructive to each other and to our environment. But the upside is that we are creative and inventive in this environment too, and produce things that are beautiful to us--and often starting with the humblest of materials. As art historians, we like to study these things, classify, organize and group them according to norms we establish within our lifespans. Great stone cathedrals come to mind, or Norwegian stave churches, or the formidable structures that are driven by technological advances like those towering skyscrapers of Dubai and Singapore.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCjW7DohF8hTnXsDo5nblCTLwtWsZcLQfbw81erYSBGf6I8ZuK9ur0SffHIxvu5emG-TAdQLwAaeGoSl6yocMunuD8jSZRuJGc1pFCJ-rsXGHjhJfHmqGT2tbjPaUFqn1HNmO6JFA_3YH2/s1600/IMG_1238.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCjW7DohF8hTnXsDo5nblCTLwtWsZcLQfbw81erYSBGf6I8ZuK9ur0SffHIxvu5emG-TAdQLwAaeGoSl6yocMunuD8jSZRuJGc1pFCJ-rsXGHjhJfHmqGT2tbjPaUFqn1HNmO6JFA_3YH2/s400/IMG_1238.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cervera de la Cañada, Santa Tecla: Interior detail</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQMRmbpwGS3_1z_utNDY-R_45R0-k1uyjrG82i4uNwtwfFD9CEhmhd0IUyfB3YZhypyFQyBy27qKYyPzJ6YGfpActbRPzUml1uGpm5yeUsZXLsLAIpPanVJn_QwEu9SQDUEA9fVY3nIXPm/s1600/Kaufmann_Portal-of-the-Rabbi-1898.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="559" data-original-width="640" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQMRmbpwGS3_1z_utNDY-R_45R0-k1uyjrG82i4uNwtwfFD9CEhmhd0IUyfB3YZhypyFQyBy27qKYyPzJ6YGfpActbRPzUml1uGpm5yeUsZXLsLAIpPanVJn_QwEu9SQDUEA9fVY3nIXPm/s400/Kaufmann_Portal-of-the-Rabbi-1898.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gwozdziec Synagogue: Portal of the Rabbis by Isidor Kaufman</td></tr>
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For me, some of the most remarkable of these structures are those that are very regional and time-restricted, and that make something remarkably beautiful out of very modest materials. There are many over time and geography, but I just wanted to mention two: 13th-16th century brick churches in the region of Aragon in Spain, and 17th-18th century wooden synagogues of Eastern Europe--now long gone but well-documented by pre-World War II photography. Both were built by artisans of one religion for another. Within the last sixty years or so, both groups of buildings have been well studied and analyzed, and I'll give you excellent links to detailed sites below.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Spain: Aragon at Upper Right</td></tr>
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Art Historians have given a name, <i>Mudéjar</i>, to the Aragonese churches. The term <i>Mudéjar</i> generally refers to the Muslim residents of Christian Spain during the Reconquest period. In Aragon, <i>Mudéjar</i> artisans and builders dominated the construction trade and their principal building material was brick: they made brick and ceramics as well. Presumably, the <i>Mudéjars</i> also made mosques for themselves and perhaps synagogues for Aragonese Jews, but none of these survive. A number of the Christian churches were built on the sites of former mosques in this region as the Christians continued </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC-UbOc7mavkLtduVlcdNjtZvTZSd6jRNg0HCE7iQRrw69z9iClVitfLNl7wXO7bFuglI1Mdc_pdrxKR80RwXFywAvBH9SZikAC1_8o2XWCyGItXrX3vU-9CD6XT9-gwcVBEzKu4dfc-k-/s1600/10812_g.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="525" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC-UbOc7mavkLtduVlcdNjtZvTZSd6jRNg0HCE7iQRrw69z9iClVitfLNl7wXO7bFuglI1Mdc_pdrxKR80RwXFywAvBH9SZikAC1_8o2XWCyGItXrX3vU-9CD6XT9-gwcVBEzKu4dfc-k-/s320/10812_g.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ateca: Santa María. Minaret-Bell Tower</td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;">to vanquish Muslims up to 1492. Some of the towers we call minarets from these conquered mosques were appropriated, extended higher and converted into bell towers when they became churches, though most often the church proper was rebuilt to conform to the shape and orientation of Christian practice: longitudinal nave, polygonal apse.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Morata de Jiloca, San Martín</td></tr>
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The builders of the churches were these <i>Mudéjar</i> craftspeople, who used local and inexpensive brick, and their own time-tested building methods. Following their own traditions, they adorned the repurposed or new towers, apses and facades with geometric decorations of raised and angled brick as well as colored ceramic inserts to liven them up. The interiors were plastered and painted with patterns to imitate stone, or repeated geometric motifs; windows and their supports were filled in with geometric patterns too. Several of these buildings remained reasonably intact, such as those in Tobed, Cervera de la Cañada, Maluenda and Torralba de Ribota, and in the last few decades meticulously restored.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Cervera de la Cañada: Apse (with later <i>retablo</i> and painting)</td></tr>
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What makes these structures so interesting is that this profusion of motifs merged with the interior objects and adornments provided by their Christian users: big brightly colored and gilded multi-paneled altarpieces called <i>retablos </i>were in most side chapels and over the high altar; elaborate stucco pulpits and choir screens use a <i>Mudéjar </i>technique but also Gothic pattern motifs. The interior effect was a riot of pattern and color, but the long nave, sometimes side-aisles, lateral chapels and the apse with its high altar were undeniably and proudly Christian. So these churches were a design collaboration of Muslims and Christians that resulted in a unique fusion.</div>
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This fusion produced a very regional kind of architecture that achieved its opulence through brick, ceramic, stucco and painted and gilded wood: inexpensive materials that combined to produce something unique and rich. There is a website that serves as a visual and informational treasure trove for this architectural movement illustrated with meticulously photographed details for all of them that are out there, maintained by José Antonio Tolosa. I give the link below.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Map of Polish-Lithuanian Commonwealth</td></tr>
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If brickmaking materials abounded in late medieval Aragon, so did trees in eastern Europe in the 17th and 18th centuries. Wooden architecture developed in the region and encompassed both housing and places of worship. It is readily seen in old photographs of small towns in the countryside, in large manor houses, cottages and both Catholic and Eastern Orthodox churches in the region, as well as spectacular Jewish wooden synagogues. The greatest flowering of this multi-cultural renaissance took place during the existence of what was known as the Polish-Lithuanian Commonwealth (1569-1795).</div>
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<tr><td class="tr-caption" style="text-align: center;">Wolpa Synagogue: Bimah (c); Ark (r)</td></tr>
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While masonry synagogues were built in larger cities, synagogues in the countryside were constructed of timber, and though the present consensus has it that the builders and carpenters themselves were not Jews, their methods conformed to those of the general type of all architecture of the period. As in the case of <i>Mudéjar</i> churches in Aragon, this was modified to meet the needs of Jewish practice. Interior synagogue space was basically a square, and had two liturgical focus points: the Ark, which held the Torah scrolls, generally located on the eastern wall, and the <i>Bimah</i>, here a pavilion-like platform in the middle of the room, where the Torah portions were read each Sabbath and on holidays, with seating around it.<o:p></o:p></div>
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Due to less durability and fires, these synagogues were often modified over time, with their roofline raised to accommodate interior cupulas of complex construction. Exteriors were relatively plain, though as roofs were raised, the exterior profiles became multi-tiered. Also, extra galleries, porches and other rooms were successively added, resulting in complex exteriors such as at Zabludow.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Zabludow: Synagogue</td></tr>
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But much as the altarpieces and stucco screens of the Aragonese churches transformed their appearances to conform to a profound Christianity, the wooden synagogues' interiors were adorned with structures, and often wall and ceiling paintings that expressed their Judaism. Torah Arks became tall narrow often filigreed affairs, often richly colored and sometimes gilded. The <i>bimah</i>s rivaled the <i>baldacchinos</i> of Italian Baroque churches, with elaborate wooden carving. And in some synagogues, the walls were covered with painted Hebrew religious texts, while the ceilings and painted cupolas could offer Zodiac imagery, various animals and painted ornament: human form might not be represented (except for the painted hands offering the Priestly blessing above some arks), but anything and everything else was. It's not clear who actually executed the interior carvings, but the wall and ceiling painters were Jewish: they signed their work and formed itinerant teams who traveled from town to town, much like the Romanesque church <o:p></o:p></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">painters in medieval Catalonia.</span><br />
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There is one irony, though: this superb environment was for men only. Originally most of these structures had no accommodation for women at all; subsequently a narrow side upper or lower room for women was added on in many of them, but the only visual access was through a heavy grill or a narrow slit. At least Aragonese Catholic women could sit or stand alongside of the men.<o:p></o:p></div>
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If any of these synagogues survived, they would surely be Unesco World Heritage Sites, but some vanished in the late 19th - early 20th century as small-town populations became very impoverished, and many Jews emigrated. Those that did make it up to Hitler's invasion of Eastern Europe perished in the Holocaust. Fortunately, many of them were photographed, analyzed and documented in the 1920's in a project sponsored by the Department of Architecture at the Warsaw Polytechnic Institute. A good portion of this archive survived World War II, and was utilized by the architects Maria and Kazimierz Piechotka in their superb wooden synagogue studies beginning in 1957 (I cite a reference to the later English edition below). Building on this, the architectural historian Thomas Hubka produced a marvelous monograph on one Synagogue, that of Gwozdziec, and this inspired the new Museum of Polish Jewry and the American Handhouse studio to recreate the Synagogue's ceiling and bimah as the museum's centerpiece, joining an earlier recreation of the painted Chodorov ceiling at the Beit Hatefutsoth Museum in Tel Aviv.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">The reconstructed bimah and ceiling from Gwozdziec</td></tr>
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A more curious reconstruction is of the Wolpa Synagogue in the town of Bilgoraj, integrated into a reproduced Jewish <i>Shetl</i>, --is this a sort of <i>Shtetl</i> theme-park? Bilgoraj now has no Jews, but it did--and a synagogue too, but not this one!<o:p></o:p></div>
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We often forget about the multicultural artistic collaborations found in so many places in the world at so many different time periods; human beings can coexist and produce masterpieces, but histories and the current news so often accentuate the negative.<o:p></o:p></div>
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The very best place to see an encyclopediopic collection of images and many details of Aragonese <i>Mudéjar </i>architecture is José Antonio Tolosa's website <i>Aragón Mudéjar:</i></div>
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<i><a href="https://www.aragonmudejar.com/" target="_blank">https://www.aragonmudejar.com</a></i></div>
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The two superior works on Wooden Synagogues are Books:</div>
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1. María and Kazimierz Piechotka, <i>Heaven's Gates. Wooden Synagogues in the Territories of the former Polish-Lithuanian Commonwealth</i>, Warsaw, Wydawnictwo Krupski i S-ka, 2004.</div>
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There are earlier versions, <i>Wooden Synagogues, </i>both in Polish and English, going back to 1957. There's a later edition published by Polin, The Museum of the History of Polish Jews, and a sister volume on masonry synagogues in the same region: pricey, but worth seeking out.</div>
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2.Thomas C. Hubka, <i>Resplendent Synagogue. Architecture and Worship in an Eighteenth=Century Polish Community, </i>Brandeis University Press, 2004, also pricey--but easier to find.<br />
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A short film on reconstructing the Gwozdziec ceiling can be found at:<a href="https://www.youtube.com/watch?v=mc-s-GfPrFs" target="_blank">https://www.youtube.com/watch?v=mc-s-GfPrFs</a></div>
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For discussions of many and varied aspects of Jewish art, including synagogues of all places and times, I recommend Samuel Gruber's wonderful website:</div>
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Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-23117587311442529072019-08-02T12:45:00.001-07:002019-08-02T12:49:15.426-07:00Dastardly Deeds on The Nueces Strip, Art, a Museum, and a Saloon <div style="font-family: "Helvetica Neue"; font-stretch: normal; line-height: normal;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Michael Ome Untiedt: <i>On the Nueces Strip. Rangers and Another Heye Saddle. </i>San Antonio, Briscoe Western Art Museum</span></td></tr>
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<span style="-webkit-font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">A man gallops his horse up a dusty path. Judging by the starry sky, It’s night, but there must be a full moon because the rider casts a moon-shadow on the trail. The rider looks back at two pursuing men, also riding full-tilt, trying to catch him. Way in the background are some darker hills with a few lights of a town at their base. The brushstrokes are broad, impressionistic. In spite of the fugitive’s red shirt, moonlight makes the colors cool and ghostly.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">The painter of this work is Michael One Untiedt, a contemporary Western artist and this work, entitled <i>On the Nueces Strip: Rangers and Another Heye Saddle,</i> is recent (2014). A lot of Untiedt’s work falls in the western genre. Some of them have historical figures such as Charlie Goodnight and Quanah Parker. Sometimes two almost identical compositions have divergent backstories, for example, <i>On the Nueces Strip</i> is very similar to another of his works, <i>When Faith Takes a Fast Mount</i>, where there is only one pursuer, the weather is stormy rather than nocturnal, and a crucifix is on a low hill to the right. On his website, the painter comments on many of his works, accompanied by photographs of them. Quite a number are night scenes; he gives tribute in these to earlier Western painters in the genre, Frederic Remington and Frank Tenney Johnson. Many are general nostalgic scenes of cowboy life, others are pure but recognizably western landscapes, and all appear to narrate something, identifiable or not.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">The title<i> “On the Nueces Strip: Rangers and Another Heye Saddle” </i>certainly implies a specific story being told here, but unless you happen to be a die-hard Texas history buff, you are probably asking “Nueces Strip? Where <i>is</i> that?” “Heye Saddle—is it a type of saddle, or does it refer to one owned by somebody named Heye, or made by Heye?,” not to mention exactly what did these rangers do and when did they do it? Were they Texas Rangers, and if so, this certainly is not the major league ball club, since they’re in Arlington—nowhere near the Nueces river in south Texas.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">The particular incident referred to here was a robbery of a general store on the Nueces River, the theft of eighteen valuable saddles among the loot, and the story of their recovery in 1875. The Nueces River, which flows from Edwards County in central Texas, to Corpus Christi Bay, was considered the boundary between Mexico and Texas, until Texas, the winner of the Mexican-American war of 1846-1848 definitively fixed its border southward at the Rio Grande with the Treaty of Guadalupe Hidalgo. But there were many Mexican citizens who had had land grants in the “Nueces Strip”—the area between the two rivers. They still considered their lands theirs, even as Anglo-American settlers began to populate the territory and take property for themselves. Conflict in the region raged for another thirty years or more. One of the biggest Mexican land-grant leaders, Juan Nepumaceno Cortina, lost a considerable amount of property claimed ancestrally by his family north of the Rio Grande in the vicinity of Brownsville. He became the leader of disenfranchised Mexicans in the region, and fought two local wars during the period 1859-1861 before he was driven back over the border. </span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">From the end of the Civil War and later, as Anglo-American ranches were being established, great numbers of feral longhorn cattle were rounded up, claimed by the ranchers, and branded with their brands. After 1870 Cortina became active again, directing raids into the Nueces strip area, stealing cattle and looting Anglo-American settlements and ranches, taking all of it across the Rio Grande to Mexico. To Mexicans, he was Robin Hood. To many Anglo-Americans, he was more like Attila the Hun.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Captain Leander McNelly</span></td></tr>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">This is not the place to talk about the Texas Rangers, a sort of Texan “Special Forces” with a long and checkered history; just to mention one short part of it. A company of Rangers was commissioned by Texas Governor Edmund J. Davis to settle a long-standing feud between the Sutton and Taylor families in south Texas in 1874. It was commanded by 30-year-old Captain Leander McNelly, a Civil War veteran and former state policeman. Though they were only partially successful, McNelly was called to action again in 1875 to try and establish some law and order in the Nueces Strip. He recruited forty men, and for the next two years, often using brutal and unorthodox methods (McNelly was a disciple of the “take-no-prisoners-school), they succeeded. For a detailed account of their activities at this time, I recommend the account of the youngest member of the company, George Durham called <i>Taming the Nueces Strip.”</i></span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">Untiedt’s painting invokes this campaign. The <i>San Antonio Daily Express </i>sounded a general alarm about the threatening situation on the Nueces Strip on May, 20, 1875. Cortina sent out four groups of marauders consisting of Mexicans and some allied American over the border five days later. Three were soon repulsed, but the fourth group charged north, heading towards Corpus Christi. On the way, they destroyed ranches and homesteads, raided a store run and owned by George Franks, and took some prisoners of both genders, driving them in front as human shields and/or bargaining chips.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">On March 26 (Good Friday), they reached Nuecestown, a small place then, and now absorbed into Corpus Christi. There, they attacked the general store owned by Thomas J. Noakes, who was also the town’s postmaster. Noakes, knowing of the local potential for disaster, had dug a tunnel under the house, where he hid after shooting one of the robbers, and then realizing the overwhelming odds against him. His five children escaped to the river, but Noakes’s wife Martha took a stand. As the robbers attempted to set fire to the store, she managed to douse it twice before ducking inside to grab her feather comforter. One of the Anglo robbers, described by her with a distinctive facial scar, beat her severely with his riding quirt, but she eventually escaped, quilt and all. T.J. Noakes survived as well, but the store was completely sacked and burned before the banditsrode away.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">Among their haul were eighteen luxury saddles, heavily adorned with silver in distinctive pattern and design, manufactured by Dietrich Heye of San Antonio.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">This robber band was prevented by traveling further by a posse who came down from Corpus Christi, and other armed locals. Retribution was evidently very intense and violent, but did nothing to stop the lawless carnage between both Mexicans and Anglos in the region over the next month.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">According to George Durham, when NcNelly and his rangers Nuecestown and the site of the burned store, he gave his men very specific instructions.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span><span style="color: red;">Captain seemed mighty concerned about those eighteen saddles. He got Mike Dunn </span></span></span></div>
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<span style="font-kerning: none;"><span style="color: red; font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>[one of the prisoners the posse freed from the gang after the raid] to give him a good </span></span></div>
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<span style="font-kerning: none;"><span style="color: red; font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>picture of them—length of the tapideros, if the skirts were cinched. He wanted all </span></span></div>
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<span style="font-kerning: none;"><span style="color: red; font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>details…and ordered: “Describe those saddles to the Rangers. Make sure they </span></span></div>
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<span style="font-kerning: none;"><span style="color: red; font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>understand exactly. Then order them to empty those saddles on sight. No palavering </span></span></div>
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<span style="font-kerning: none;"><span style="color: red; font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>with the riders. Empty them. Leave the men where you drop them and bring the</span></span></div>
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<span style="font-kerning: none;"><span style="color: red; font-family: "georgia" , "times new roman" , serif;"> <span class="Apple-tab-span" style="white-space: pre;"> </span>saddles to camp.”</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">The following month, McNelly and his rangers caught up with many of the raiders at the salt marsh of Palo Alto, north of Brownsville. He and his men slaughtered them all—and George himself killed the scarfaced man who beat up Mrs. Noakes. McNelly had the bodies brought back to Brownsville and stacked them in a public square—shocking friends as well as the unsympathetic. A tally of the loot recaptured from the battle included twenty-two pistols, twelve rifles and fourteen saddles. Durham reported that</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;"></span><br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span></span><span style="color: red;">Nine of the saddles…look to be almost brand new. they are dandies. Garnished with </span></span></div>
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<span style="font-kerning: none;"><span style="color: red; font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>two-inch silver conchos, foot-long tapaderos. The first ones I’ve seen. Came from Dick </span></span></div>
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<span style="font-kerning: none;"><span style="color: red; font-family: "georgia" , "times new roman" , serif;">Heye saddlery in Santone. “Captain perked up and said, ‘Let’s have a look at them. </span></span></div>
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<span style="font-kerning: none;"><span style="color: red; font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Sounds like they’re part of the plunder taken up in Nuecestown in a raid last </span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="color: red; font-family: "georgia" , "times new roman" , serif;"><span class="Apple-tab-span" style="white-space: pre;"> </span>March.” They were. No mistaking them.</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">Befitting their special value, Cortina had given them to his trusted and honored lieutenants. McNelly, in the instructions to his men, practiced what art historians call “connoisseurship:” analyzing the traits of a distinctive style to determine the authenticity of a work of art. It worked for the art of saddles too.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">McNelly died young at 33. He had been suffering from tuberculosis and had originally migrated to Texas from Louisiana in search of drier air. He lived long enough to conduct more skirmishes along the Rio Grande, including one over the border in Mexico itself. The Nueces Strip was pacified, but the Rio Grande is, to this day as we well know, a volatile border.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">T.J. Noakes got these saddles back—and eventually all eighteen—plus seven more! They were evidently prized targets. The problem was, according to Durham at least, they had morphed from notable to notorious—no one wanted to buy them, given their history.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">So who knows which incident in this border war involving Heye saddles, if any, is the specific pursuit depicted in Untiedt’s painting? It’s more a poetic narration of pursuit—and for this writer, a lot more moving and impressive than such standard “western issue” paintings depicting Captain McNelly by Joe Grandee or Clyde Heron.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">Part of the irony of it all, is that no part of the saddle and its rich adornments is visible in the painting, but visitors to the gallery where the painting is hung can examine a genuine Heye saddle, with all its silver concho trimmings (Durham mentions that these were particularly large), and characteristically long and silver-plated tapaderos (stirrup covers) on display in the same room.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEg6K95Ak-fsXQpnf4zcYWk_wKSI01xdGzjXovfB_0c6mXT3FZhNR5Pvc-AjmVYrsh3beWZ5fbCd51-ijFfYYp1P40BCxy4fI1TRh0YsoB_BPdfkBBEzMZrsDwkn4bMvYBOIaUqar629v8/s1600/Heye+Saddlery.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="966" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEg6K95Ak-fsXQpnf4zcYWk_wKSI01xdGzjXovfB_0c6mXT3FZhNR5Pvc-AjmVYrsh3beWZ5fbCd51-ijFfYYp1P40BCxy4fI1TRh0YsoB_BPdfkBBEzMZrsDwkn4bMvYBOIaUqar629v8/s400/Heye+Saddlery.jpeg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Diedrich Heye and his workers, 110 Commerce St., San Antonio</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg44pv4DNVHaoqyHRP0IE4nbSTHQdPVsTXUd3_COp5s04zqxpU6l3oVbvljpTT4rn4qIFt6Udc8p5yrHUAWEs-lCjr8NCwU307UXj7jO818csdwsq_ZBSrH6vFgQ5IVUeZ8vOBoajS14yWd/s1600/D.Heye.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1189" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg44pv4DNVHaoqyHRP0IE4nbSTHQdPVsTXUd3_COp5s04zqxpU6l3oVbvljpTT4rn4qIFt6Udc8p5yrHUAWEs-lCjr8NCwU307UXj7jO818csdwsq_ZBSrH6vFgQ5IVUeZ8vOBoajS14yWd/s320/D.Heye.jpg" width="237" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">The Site of the Original Saddlery Today</span></td></tr>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">It would be cool to say that this particular saddle was actually part of the Nuecestown loot, but it isn’t, for the firm of D. Heye and his sons kept the enterprise going well into second third of the 20th century. Deidrich Heye was part of a wave of German settlers who came to central Texas during the mid 19th century. Born in Holstein in 1837, he received his initial training in saddlery in his native country, then moved on to an apprenticeship in England, which had the reputation for being the best in the business. He then moved on to Mexico city, where he learned the art of silver-decorated saddles, the basis for the American western saddle. He came to San Antonio in 1866, where he set up a shop on Commerce Street, then the principal business street in the city. He and his workers quickly built up a reputation for quality saddlery, and prospered during the period of the cattle drives during the next two decades. The firm produced work saddles too, but the Heye saddle became the darling of wealthy stockmen, with their distinctive concho pattern and quality leather work (Durham called them “the Cadillac of Saddles).”</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">Heye died in 1896, but he had taught his trade to his sons, and later the business was continued by his grandson. Among other projects, the Heye enterprise made many of the saddles for Teddy Roosevelt’s Rough Riders, who trained in San Antonio. Later on, they became saddle makers to Hollywood cowboy stars and wealthy ranchers, and as automobiles displaced horses as transportation, they branched out into all sorts of luxury leather goods, including fancy luggage.</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">Over their long business operation, the enterprise moved several times to larger quarters, but the upper facade of the original workshop is marked by a commemorative sign that still reads “G. Heye, Est. 1867” (it is now occupied by the Coyote Ugly Saloon).</span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">The saddle on exhibition at the Briscoe Museum was made for Rex Stout, a now-forgotten country singer who was popular in the mid-20th century, and so was presumably custom made at that time. It has the characteristic conchos and silver-adorned tapaderos. I can’t say how closely it resembled the Diedrich (or Dick) Heye saddles of the 1870’s, but I think it’s terrific that it occupies the same gallery as Untiedt’s painting, so you can really understand what the painter’s reference is.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhySrMeg-BEASIFqL0enqxMejlnJIKmOUkOPZbwCgMF-ae6pGoXLNnThP_ofh3Z1aClmtqlo3Exki8v_Kb-VUovqhdJ2pwAsae0SW_E_LYfncC0pgS8aAjSvqNvaxcNLxkraMmphv4f9jFN/s1600/Stuart%253AHeye.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="896" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhySrMeg-BEASIFqL0enqxMejlnJIKmOUkOPZbwCgMF-ae6pGoXLNnThP_ofh3Z1aClmtqlo3Exki8v_Kb-VUovqhdJ2pwAsae0SW_E_LYfncC0pgS8aAjSvqNvaxcNLxkraMmphv4f9jFN/s320/Stuart%253AHeye.jpg" width="179" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">The Rex Stuart Heye Saddle. Briscoe Museum of Western Art</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl04IxkTTcaaX86MI5_n_d2EF0EvO9x_gmQHHD3WBgQUSUqjP4x6KoT9XMAWoiN7QFUzQlk7lY-y1HmUtDBpCSp-BmGcikN4AXNgwzY71856JNkvob2-hSpthoCSc8wKWitg2xD_g99UtY/s1600/s-l1600.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "georgia" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1206" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl04IxkTTcaaX86MI5_n_d2EF0EvO9x_gmQHHD3WBgQUSUqjP4x6KoT9XMAWoiN7QFUzQlk7lY-y1HmUtDBpCSp-BmGcikN4AXNgwzY71856JNkvob2-hSpthoCSc8wKWitg2xD_g99UtY/s200/s-l1600.jpg" width="150" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: x-small;">Rex Stuart (?)</span></td></tr>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">But it gets even better: the D. Heye original San Antonio saddlery site, nicely marked, is just one block north of the Briscoe Museum—you could even see it from a window in the gallery if it weren’t blocked by a parking garage. For Art Historians, it is completely rare for a work of art, its iconographical source and the location of its origins are all in the same place. We should all go to Coyote Ugly after a Briscoe Museum visit and raise a glass to Heye, McNelly, Untiedt and brave Martha too!</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;">_______________________________________________________________</span></span></div>
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<b style="font-family: Georgia, "Times New Roman", serif;">Michael Ome Untiedt’s personal website is at: <a href="https://michaeluntiedt.weebly.com/" target="_blank">https://michaeluntiedt.weebly.com</a></b></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;"></span><br /></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">There are numerous recounting of the attack on the Nuecestown store. Though it was written down nearly 50 years after it happened, there is the eyewitness account by former “Little McNelly” George Durham (written in 1934 as told to Clyde Wantland, it was not published until 1962):</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;"></span><br /></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">George Durham (told to Clyde Wantland), <i>Taming the Nueces Strip. </i>The Story of McNelly’s Rangers. UT Press, Austin 1962</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Leopold Morris, “The Mexican Raid on Corpus Christi,” <i>The Quarterly of the Texas State Historical Association, </i>Vol. 4, No. 2 (October 1900), pp. 128-139<span style="font-kerning: none;"></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;"></span><br /></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">William A. Hager, “The Nuecestown Raid of 1875: A border Incident,” <i>Arizona and the West</i>, No. 3 (Autumn, 1959), pp. 258-270</span></span></div>
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<span style="font-kerning: none;"><b><span style="font-family: "georgia" , "times new roman" , serif;">More contemporary newspaper accounts:</span></b></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">Noakes’s account in the <i>Galveston News:</i><span style="font-kerning: none;"></span></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">“Statement of the Postmaster at Nueces. A Narrow Escape from Death,” <i>Galveston News,</i> March 30, 1875, p. 1.</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;"></span><br /></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">Consequences of the battle in the salt marsh at Palo Alto:</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;">”Letter from Brownsville” <i>The San Antonio Daily Express, </i>May 29, 1875, p.2<span style="font-kerning: none;"></span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;"></span><br /></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">Diedrich Heye’s Obituary:</span></span></div>
<div style="font-stretch: normal; line-height: normal;">
<span style="-webkit-font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">“Death of an Old Citizen,” <i>The San Antonio Daily Light, </i>February 26, 1896, p. 2</span></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-kerning: none;"></span><br /></span></div>
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<span style="font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">A brief history of the Heye Saddlery:</span></span></div>
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<span style="-webkit-font-kerning: none;"><span style="font-family: "georgia" , "times new roman" , serif;">“Identified With Growing Cattle Business,<i>” San Antonio Express, October 25, 1935, p. 16.</i></span></span></div>
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Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-11904350319518099422019-07-10T13:39:00.001-07:002019-07-11T07:29:58.004-07:00Art History H11: “Western Art” vs. WESTERN ART<div style="font-family: Calibri; font-stretch: normal; line-height: normal;">
<span style="-webkit-font-kerning: none;"><span style="font-size: 11px;"> </span>Take a look at your basic art history survey textbook, and it will often have a title called HISTORY OF WESTERN ART or some variation thereof. Back in the late 1950’s when I was an undergraduate student, my professor for this course was H. W. Janson, who wrote one of the original gold-standard books on this topic. In those days, WESTERN ART meant about five or six countries of western Europe: Italy, France, Germany, Belgium, and the Netherlands, and generally in the timeframe ending with Impressionism, or maybe even Cubism. Other countries, like ancient Greece, Rome, Egypt, and Mesopotamia, Romanesque and 16th-17th Spain, and a few other places at a few moments in history were included. This canon, basically designated by European scholars, museum curators and art aficionados covered the “major arts” of painting, sculpture and architecture, primarily limited to religious and court art, with a nod to Dutch 17th century bourgeoisie. Key works of art were discussed individually, generally authenticated or attributed, analyzed and praised or damned in relation to the canon. Renaissance Italy and the 17th century Netherlands seemed to have been regarded as the pinnacles.</span></div>
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<span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span>At Harvard, where I got my Ph.D, anybody like me, with an interest in late Medieval Spain was considered a loony outlander, a lover of inferior provincials, left to myself in my madness. It was only in the later 20th century and now in the 21st, that the discipline of Art History has changed, widened, and effectively now includes old and new visual imagery all over the world, in diverse media and diverse intent. The line between “commercial” and “fine” art has virtually dissolved, and changed our viewpoint of what “fine” art is, since until the 18th century, all “fine” art was basically commercial anyway, and most of what is preserved is skewed towards what had been preserved in churches and palaces of the rich, the more common stuff relegated to mere archeology or “decorative arts” or “popular arts,” of no aesthetic consequence. </span></div>
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<span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span>In the United States, and especially for those living west of the Mississippi. “Western Art” can have a completely different meaning. Here it means art of the American West and encompasses American and western themed art and objects. You can think of “Cowboys and Indians,” but it spans and includes much more, from imagery done by early visitors from the early 19th century, through landscapes, portraits, works and objects chronicling 19th-century westward expansion, to both interpretations of 20th-21st century life in the west, and a large body of realistic painting and sculpture that preserves the dream of native Americans, the pioneer and frontier life. It also encompasses what in the old days would have been called “minor arts, but they’re hardly that: elaborate saddles, swords, firearms spurs and other accoutrements also qualify. It is a vast field, as broad as the regional differences through time and space of the west itself, and there are more than a dozen museums devoted to it.</span></div>
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<span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span>During the last fifty years or so, serious art historians have been applying themselves to it, particularly to its 19th-century manifestations. For a blog entry, it is way too large to discuss this Western Art as a whole, so as an art historian here I wanted to look at only one work each of two contemporary painters that are now on exhibit at the Briscoe Museum in San Antonio, both part of a show lent from the Booth Museum in Atlanta entitled “Into a New West.” I have chosen them because the painters themselves generously gave me permission to reproduce them, but primarily also because I can apply some of the criteria connected with the old parameters put forth from that earlier HISTORY OF WESTERN ART tradition. Both artists have some training and experience in graphic design as well as gallery pieces, but their styles, subject matter, and manner of narration are very different though both are set in the American southwest.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikApkBcl7AsBHSwpuYFwOfdV7_NsTdgjoHR6Hw3Q3TJ_CBzoPDxer5kJdANW6dW2WSz5nfl0_fZpTByQABjJWKIleFo621XkjjA3jKO3GoNsRICCM_R60gZZtEJ_iA0FcykoOoSUeWTcIq/s1600/Red+Rocks+Romance.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="588" data-original-width="700" height="536" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikApkBcl7AsBHSwpuYFwOfdV7_NsTdgjoHR6Hw3Q3TJ_CBzoPDxer5kJdANW6dW2WSz5nfl0_fZpTByQABjJWKIleFo621XkjjA3jKO3GoNsRICCM_R60gZZtEJ_iA0FcykoOoSUeWTcIq/s640/Red+Rocks+Romance.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Michael Goettee: <i>Red Rocks Romance, </i>Booth Western Art Museum Permanent Collection, Cartersville, GA<i> </i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Nardo di Cione Madonna and saints,<br />
Washington, National Gallery</td></tr>
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<span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The first piece is Michael Goettee’s <i>Red Rocks Romance. </i>Divided into three sections, it shows at its sides two kneeling men wearing the familiar dress of “cowboys:” stetson hats, jeans or work pants, western boots. The one to the left carries a bouquet of sunflowers, the other has his hat over his heart in a gesture of homage or a humble request. Between them, and somewhat larger in scale is a standing woman, wearing a fringed skirt, starred vest over a yellow blouse, western boots and a stetson. She is framed by what looks like a serrated scarlet body halo, and rays flow out beyond that forming a gloriole. Beyond all three figures is a continuous red-rock landscape, billowing cumulous clouds at the horizon and a brilliant blue sky above. Executed in acrylic on board, the whole thing is framed with a tripartite wooden frame, with a gable over the center and gilded stars and hearts.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJHIOGBDd7MIbz2C7EZLArv4ucRZsod-kEv8aY1bS3WU_JyNRWlUFfD8VPo2qv8GafXq7MjXyzLIfVGH0S25zZkk0o8JUqVUw_IbEaLpZ-AgPUIssmkUnu4kfGw0uJHc5wDsiMwhqGQJzP/s1600/2880px-Hugo_van_der_Goes_-_The_Adoration_of_the_Kings_%2528Monforte_Altar%2529_-_Google_Art_Project.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1040" data-original-width="1600" height="129" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJHIOGBDd7MIbz2C7EZLArv4ucRZsod-kEv8aY1bS3WU_JyNRWlUFfD8VPo2qv8GafXq7MjXyzLIfVGH0S25zZkk0o8JUqVUw_IbEaLpZ-AgPUIssmkUnu4kfGw0uJHc5wDsiMwhqGQJzP/s200/2880px-Hugo_van_der_Goes_-_The_Adoration_of_the_Kings_%2528Monforte_Altar%2529_-_Google_Art_Project.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hugo van der Goes, <i>Monforte Altarpiece,<br />Berlin Gemäldegalerie</i></td></tr>
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<span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span>The men seem to be on bended knee perhaps adoring the lady, and that and the frame evoke medieval altarpieces, such as the one by Nardo de Cione in the National Gallery of Washington, though there, the Virgin Mary is flanked by standing saints. But the kneeling gestures of homage of two of the three kings and removed hat of Saint Joseph also recall such works as Hugo van der Goes’s <i>Monforte Altarpiece i</i>n Berlin’s Gemäldegalerie<i>. </i>And of course the lady with her body halo brings back memories of the <i>Virgen de Guadalupe. </i>This work is basically laid out as a secular triptych.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Virgen de Guadalupe</i></td></tr>
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<span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span>This sort of sampling of earlier artworks is, of course, widely popular in today’s artistic and popular culture in many media. But Goettee’s work is totally in contemporary American Western Art tradition. The lady appears to my to be the ideal Western Art Woman, a Goddess of the West. The brilliant, flat coloring of the painting reminds me of billboard art, though the picture’s scale is quite small. Are the two men rivals who are courting her? Do their white and black stetsons indicate hero and villain in old western movie tradition? Or are they, as a LGBTQ colleague interprets the work, two gay cowboys whose union is being blessed by the Goddess? </span></div>
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<span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Goettee, whose painting and mixed media work uses a lot of art historical and commercial art motifs, has a lot of wry humor—that same type of frame is more explicitly used in other works, <i>Ecstasy of St. Elsie </i>where the iconic figure is a haloed cow, or <i>Holy Cowboy</i>, a sort of devotional triptych having a more Renaissance-style frame with a cowboy in the center flanked by two half-length cows, one of whom is the same Elsie. His website features other imagery satirizing the mythology of the Old West.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Dennis Ziemienski, <i>Indian Detours, </i>Booth Western Art Museum Permanent Collection, Cartersville, GA<i> </i></td></tr>
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<span style="-webkit-font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span><i>Indian Detours</i> by Dennis Ziemienski is an example of another facet of Western Art: nostalgia. The scene is a tribute to tourism in the 1920s and early ‘30s. It is set in an unidentified southwestern <i>pueblo, </i>replete with adobe buildings, a ramada, chile ristras, and native American inhabitants in striped serapes. A touring car of Anglo-American tourists (but with a local driver) has stopped to shop from the town’s native inhabitants. Under the ramada, a lady dressed in fashionable riffs on native clothing, except for her high-heeled shoes, kneels to inspect a blue pot from a seated, serape-clad villager. Behind her, a man in a white, three-piece suit and hat fingers a rug, while two local women and a baby look on, and a third woman offers another a pot to a cloche-hatted lady within the car. Behind this grouping are two local men and a woman in a <i>rebozo.</i> One of the men sits on a horse (maybe an allegory of old transportation vs. new?); in scale he is far larger than anyone else. The equestrian man and the automobile form strong horizontals, echoed by the rugs. the crossbeam of the retama, and the ground. The tourists and their dress make an obvious contrast to the pueblo inhabitants, and their postures and demeanor suggest a patronizing <i>noblesse oblige</i>. The whites of the man’s suit, the horse and the white-shawled woman center the composition. The color palette of brick reds, tans and blues suggest the desert country of the southwest, and the canvas support, in contrast to Goettee’s work, has a matte finish.</span></div>
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<span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span>This painting recalls one of a similar theme by Goya, one of his tapestry cartoons now in the Prado Museum. Once again the ceramics vendor is a man, who instead of sitting, reclines on a blanket. Three seated middle-class ladies examine his wares in a landscape, rather than a town scene. <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Francisco de Goya, <i>The Crockery Vendor, </i>Madrid, Museo del Prado</td></tr>
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Two men, possibly companions of ladies, sit on a pile of straw mats behind them, their backs to the viewer. But once again there is a division of classes, not only between the vendor and his clients, but in the aristocratic lady in a coach behind the seated and reclining foreground group. Her vehicle has four liveried outriders, reinforcing her status. </span></div>
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<span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Here both the coloring and brushwork are much softer than Ziemienski’s, and the composition is based on diagonals, with the coach diagonally placed too, suggesting greater depth. The verticality of three footmen on the coach and the tower behind them, counteract all the diagonals, but there is a general sensation of lightness and action, whereas all of Ziemienski’s figures appear still and static. Goya’s painting is part of a much larger cycle of twenty tapestry designs for the Royal Family featuring “typical” scenes of country life, meant to animate an entire room. Unlike Ziemienski’s painting, this design, dated 1779, has everyone in contemporary dress, and the finished tapestry would have been in reverse, and because of the change in medium, the tapestry would have harder contours and a less vaporous atmosphere. Because these tapestries were designed for a palace, only the elite had access to this view of suburban life. Ziemienski’s painting can be viewed by a far greater cross section of viewers.</span></div>
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<span style="font-kerning: none;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Both surely address class issues, but Ziemienski’s scene is clearly a carefully researched evocation of a time in the past—in that sense a history painting rather than a slice of contemporary life. Goettee's composition is a more contemporary icon. I wonder if Ziemienski ever saw Goya’s painting—on his biographical webpage, it is stated that he has traveled frequently to Europe—but <i>Indian Detours </i>is not really sampling, rather a creation or recreation maybe of a memory. On the other hand, it would make a splendid tapestry too!</span></div>
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<span style="font-kerning: none;">Michael Goattee's Website: <a href="http://michaelgoettee.com/michaelgoettee.com" target="_blank">http://michaelgoettee.com/michaelgoettee.com</a></span></div>
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Dennis Ziemienski's website:<a href="http://ziemienski.com/" target="_blank">http://ziemienski.com</a></div>
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Biographic Information for Ziemienski:<a href="https://www.altamiraart.com/artists/14-dennis-ziemienski/biography/" target="_blank">https://www.altamiraart.com/artists/14-dennis-ziemienski/biography/</a></div>
Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-41192769475373925302019-06-11T15:44:00.000-07:002019-06-11T15:44:29.785-07:00Miserables III: Movie and Mini<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
There have been so many movies, television productions and Miniseries retelling <i>Les Misérables, </i>that I have lost count. They include myriad versions in from Japan, as well as Turkey, Egypt, Germany, Italy, Mexico and Spain, not to mention the numerous French and English ones, going all the way back to the Lumière Brothers in 1897, just twelve years after Victor Hugo's death.</div>
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<tr><td class="tr-caption" style="text-align: center;">A poster for a 1912 film version of <i>Les Misérablesdirected by Alfred Capellani</i></td></tr>
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I will give some internet resources for analyses of these various versions at the end of this post. For myself, I just wanted to discuss two: the very latest television production from the BBC of 2018, now being streamed on PBS in America, and the French film directed by Raymond Bertrand of 1934. Both are exemplary for me in the retelling of Hugo's massive novel with limited, but expanded time frames (6 hours for the miniseries, nearly 5 hours for the movie). It's a pity that the 1925 French silent version isn't readily available--it ran about 7 hours and used to be shown over two days.<o:p></o:p></div>
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Though there have been numerous films made of the novel since Bertrand's black and white classic, I don't think that any of them measure up. Lack of color (still in its infancy) is no problem. The superb cinematography (including hand-held cameras for the barricade sequences), expressionistic lighting and a moody score by Arthur Honegger all syncronize beautifully with Bertrand's direction. The casting too is perfect. Harry Baur, I think, comes closest to my own literary impression of Jean Valjean. He is not young, even at the beginning, heavyset, definitely a peasant tree-trimmer, not at all attractive, with hair that whitens during the film as per Hugo's description, but so expressive and eventually so likeable in his plainness! I find the process of his redemption, not by overacting, but by restraint, not only believable but increasingly sympathetic as the film progresses. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Harry Bauer and Charles Vanel: <i>Les Misérables, 1934</i></td></tr>
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The same can be said of Charles Vanel who plays Javert--he too is massive, often monolithic, and his looming inflexibility makes his presence a heavy adversary in each scene he is in. This film introduces him in a low-key first scene in which he appears as one more figure in the Prison system, where he simply reminds Valjean as he leaves prison of the consequences of recidivism. Only later, in the role of the police chief at Monfermeil, does he take up his adversarial relationship with Valjean aka Mayor Madeleine. When he appears at the dying Fantine's bedside, he seems to fill up all available space in monolithic menace. While not quite Hugo's gorilla-man, he comes very close. Homely, like Baur, the two men really portray two men of humble beginnings, and their conflicting growth as poles of inflexibility on the one hand and the possibility of redemption on the other.<o:p></o:p></div>
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The rest of the cast is wonderful too. I wish I had space to discuss them all, but you can check them out on IMDB. The film does a splendid job of both complex character portrayal and staying close to many incidents in Hugo's novel. A few of the book's key narratives are cut: there is no second imprisonment of Valjean, and once he rescues Cosette from the Thenardiers' clutches, the tale fast-forwards to Cosette's 16th birthday--no time at the Gorbeau house, no pursuit then by Javert and escape and time at the convent. Likewise, the Thenardier parents disappear after they get arrested in their extortion manouvers--there is never an encounter with him by Valjean and Marius in the sewers, and no subsequent blackmail attempt.<o:p></o:p></div>
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The ending is simplified too: the day after Valjean frees Javert at the barricades, the policeman arrests him as he emerges with Marius from the sewer, allows Valjean to take Marius to his grandfather's house--where Valjean identifies himself as the young man's rescuer, and all is quickly resolved, including Javert's suicide.<o:p></o:p></div>
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The episodes that are included, though, are rendered in meticulous detail. Fantine's brief romance and tragic decline and fall are rendered beautifully. The actress Forelle portrays Fantine in a way that recalls Hugo's character: blonde, fragile, and a little feckless. The scriptwriters choose to show the beginning of her seduction, then fast-forwards to her working at M. Madeleine's bead factory. Her descent from poor-but-fastidious mother to toothless prostitute is carefully but quickly shown. It's really M. Madeleine's remorseful care that restores her spiritual respectability. When he goes to liberate Cosette, we not only feel the child's gratitude, but the emotion of human tenderness that begins to grow within her rescuer.<o:p></o:p></div>
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Likewise, the entire sequence of Thenardier and his cronies' attempted robbery of Valjean, Marius's dilemma as a witness, Javert's raid on the robbery and Valjean's escape is tightly edited and very exciting. And Orane Demazis's Éponine is so different from the sexpot waif of the musical! She's a little chunky, a little cheeky, and very much a street girl, as is Émile Genevois, who plays her brother Gavroche, the supreme urchin (he, ironically, later had a bit part as an omnibus driver in the 1958 French remake of <i>Les Misérables</i>).<o:p></o:p></div>
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Most splendid of all is the barricade sequence, from its initiation during Lamarq's funeral procession to the total defeat and slaughter of the student rebels, including the execution of Enjolras and Grantaire. The drama escalates in tension and violence, some of it filmed by hand-held camera as if it was actually happening, to the heroic, futile last stand of the remaining protestors, with time to narrate Éponine's and Gavroche's deaths, and Valjean's liberation of Javert.<o:p></o:p></div>
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It's this examination of Jean Valjean's transformation, and Javert's corresponding inability to live beyond his own rigidly set parameters that makes this film so effective, and it's done without any histrionics, over-acting or excessively corny emotionalism. This film is hard to find, and doesn't stream anywhere--you have to by the remastered DVD. It's worth seeking it out.<o:p></o:p></div>
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The 2018 miniseries has even longer to tell the story, and, as directed by Tom Shankland and written by Andrew Davies, earnestly attempts to cram as much of Hugo's novel as can be done in its six hours. Hugo is not strictly chronological: the Battle of Waterloo occurs midway through the novel. In the BBC series it is, of course vastly compressed, but it does set the stage for both the stories of Thenardier and Marius Pontmercy and the political problems of his family. In this way, it pays tribute to Hugo's historical digression, but sums it up by visual spectacle and that all-important last paragraph.<o:p></o:p></div>
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Not only is a good deal of the novel's content in the series, but some embellishments are added: Fantine's fall is very much expanded and drawn out, with an emphasis on an almost operatic-like pathos, including her consignment of Cosette to the Thenardiers, and focusses on her sacrifice of her teeth and hair in agonizing detail. Lily Collins, who portrays Fantine has dark hair and is model-slender, quite different from the blond, vulnerable innocence conveyed by Forelle. There is also an added incident depicting the Thenadier's eviction from their inn by Javert's men to transition them from lower middle-class to Parisian petty extortionist criminals. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Dominic West, Lily Collins, Mailow Defoy and David Oyelowo: Les Misérables 2018</td></tr>
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The two opposing characters are played by very handsome and charismatic actors. Oyelowo's Javert is portrayed as acknowledging Valjean's challenge to his narrow definition of good and evil and its non-changeability from the very beginning. It begins while Valjean is serving his 19 years, first when Javert witnesses Valjean's loosening of stone and then saving a chain-gang guard's life at the stone quarry (this episode is not in Hugo's work, instead Valjean is shown supporting a falling caryatid on a building so it can be repaired--and this figures in the 1934 film), and a subsequent altercation in which both Valjean and Javert establish their respective points of view. The latter is more or less in the musical, but not in the novel. <o:p></o:p></div>
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What overwhelmingly dominates the 2018 production is this epic opposition the two main protagonists The executive producer of the miniseries is David Oyelowo, who plays Javert to Dominic West's Jean Valjean, and I wonder if this is why he is a more dominant and forceful presence here. In Hugo's novel Javert is indeed Valjean's bloodhound-like pursuer, but so much of this pursuit has to do with the coincidences of where fate places the two protagonists. Indeed, in Hugo's novel, when he finally corners Valjean and Marius at the sewer exit he's actually there in pursuit of Thernadier as a corpse robber of the sewers.<o:p></o:p></div>
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In the BBC production, Javert becomes so obsessed with capturing Valjean that he prioritizes above helping to quell the 1832 uprising, his primary duty as a police chief. He goes to the barricade in disguise because he believes that Valjean will show up there, not really to spy on the student rebels. Another problem is that these two characters never age over the period from 1815 to 1832. Hugo has Valjean's hair turn white after his rescue of Cosette. Dominic West is slender and fit right up to the end; he's well into his 60's according to Hugo at his time of death, and here his hair finally, in the last scene, is gently frosted gray. Javert, no spring chicken either, is unchanging not only in his philosophy but in appearance. He looks exactly the same right up to his suicide.<o:p></o:p></div>
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When these two characters are on the screen, they dominate it, and the others seem paler in comparison, though many of them are impressive on their own when they have the chance. Marius and his contentious relationship with his grandfather is examined in detail--indeed more even than in the book, for the miniseries has Marius' visit to his dying father much earlier in his life, and is able to talk to him, while in the novel he never does meet him when he's alive, and Marius only discovers the truth about his heroism when he's grown up. But the aristocratic Guillernormand's character, similar in a way to Valjean, begins to see things in a very different way by the time he consents to Marius's and Cosette's marriage.<o:p></o:p></div>
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One of the more appealing qualities in the miniseries is the examination of the extended Thenardier family and their changing dynamics. We are shown the love for Mme. Thenardier for her two daughters, even as everyone disintegrates as their circumstances fall, and her confession that she loves her daughters, but not her son. Both Éponine and Gavroche are portrayed as intelligent and resourceful; Éponine is not a sex-kitten any more than her 1934 counterpart, she's somewhat more blatant in her sexuality, even turning up as a whore in a brothel scene, but unlike Fantine she dabbles in this as just another source of income. Much like the 1934 film, the deaths of both at the barricades comes off as tragic and touching: they are heroic in their deeds, but will disappear without a trace or a memory when everything settles down again. I wish the scriptwriters had made the relationship of the two youngest Thenardier boys with the rest of the family clearer. In the novel they are literally rented out so early that Gavroche, when he adopts them and trains them in the arts of urchinship, doesn't even know that they are his brothers. The very last scene in episode 6, when the other Thenardiers are dead or scattered, shows the two boys begging in the street, an eloquent reminder of the miseries of the underclass after the uprising. The screenwriters used them as symbols of the futility, but, in their own words, didn't associate them with the Thenardiers.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">The Original cover for the Classics Illustrated Comic: 1943</td></tr>
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In the conscientious way that the series unfolds--in a literal sequence of storytelling with various episodes unfolding by intercutting them, in the gorgeous costumes and strong acting, and with so many of the novel's details put in, including Valjean's second imprisonment (though not his manner of escape), and the harrowing pursuit of Valjean and Cosette by Javert's men averted by that tense climb over the convent wall, I commend this production. But for evoking the spirit of Hugo's novel in a human way--even with abridgements--I find that Raymond Bertrand's 1934 film, with its homely Valjean and Javert does it better and touches my heart more deeply.<o:p></o:p></div>
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P.S.: <i>Les Misérables </i>just keeps going in many media. If you have little time to read the<span style="font-family: Arial, Helvetica, sans-serif;">novel or slog through five or six hours of film or Television, you can read the Classic Comics version. It came out originally in 1943, but has been republished with a new cover in 2015. It costs $9.95 on Amazon, but you can download Hugo's massive novel for free.</span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 12pt;">You can download Hugo's complete novel in Isabel Hapgood's 1887 translation (with illustrations) at<a href="https://www.gutenberg.org/files/135/135-h/135-h.htm" target="_blank">https://www.gutenberg.org/files/135/135-h/135-h.htm</a>: </span><br />
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Two short retrospective reviews of the 1934 production can be found at:<o:p></o:p></div>
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<a href="https://www.theguardian.com/film/2015/jan/25/les-miserables-raymond-bernard-dvd-review-best-film-adaptation" target="_blank">https://www.theguardian.com/film/2015/jan/25/les-miserables-raymond-bernard-dvd-review-best-film-adaptation</a></div>
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<a href="http://www.tcm.com/this-month/article/245809%7C0/Les-Miserables.html" target="_blank">http://www.tcm.com/this-month/article/245809%7C0/Les-Miserables.html</a></div>
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A recent review of the 2018 series: <a href="https://www.nytimes.com/2019/04/12/arts/television/les-miserables-collins-oyelowo.html%20times%20review%20of%20BBC%20show" target="_blank">https://www.nytimes.com/2019/04/12/arts/television/les-miserables-collins-oyelowo.html times review of BBC show</a><o:p></o:p></div>
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A nice visual analysis of several of the other films is from a new blog "Infrequentmusings":<a href="https://www.youtube.com/watch?v=UtGJX0JCqFk%20%20film%20comparisons" target="_blank">https://www.youtube.com/watch?v=UtGJX0JCqFk film comparisons</a><o:p></o:p></div>
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Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com1tag:blogger.com,1999:blog-4738013906519571437.post-64071936325669246022019-05-12T14:16:00.002-07:002019-05-12T14:16:53.038-07:00Miserable Ones - Part 2: Hugo set to Music<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
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<b> </b>The musical adaptation of Victor Hugo's novel opened in its English version in London in 1985, and is the second-longest running musical ever (only exceeded by the New York run of the <i>Fantasticks</i>, which lasted 42 years). It will go on hiatus during the fall of 2019 while its theater is renovated, but will start right up again in December. The original French version extends the record back to 1980.<o:p></o:p></div>
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<i>Les Misérables </i>is not the first work by Hugo to be translated to the musical stage. Hugo himself adapted <i>The Hunchback of Notre Dame </i>into an opera version in 1836, with music by Louise Bertin. He changed the title to <i>La Esmeralda</i>, focused more on the gypsy dancer than the hunchback, and gave it a happy ending. The opera was a monumental flop and soon forgotten. Hugo also wrote plays, and several were adapted into splendid and successful operas, the two best-known with music by Verdi: <i>Hernani</i>(which became <i>Ernani</i>)<i></i>and the ever-popular<i>Rigoletto</i>, taken from <i>Le Roi se Amuse</i>, with the location and philandering nobleman changed from France to Italy to avoid censorship. <o:p></o:p></div>
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"<i>Les Miz</i>," with its enduring Cosette logo, taken from the illustration in Hugo's 1862 publication, is known all over the world. It was originally conceived by Alain Boubil (book) and Claude-Michel Schönberg (music) as a French "concept-musical" in 1980, and successfully staged in Paris the same year, though for a limited run. The English-language version was produced by Cameron Macintosh, with its libretto written by Herbert Kretzmer, and subsequently expanded further, keeping about a third of the French book in translation, while most of the musical numbers were retained, though modified. Additional scenes, songs and a prologue were added. There have also been cuts over the years, and restorations too, but the basic structure of the show is retained. <o:p></o:p></div>
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Numerous websites give particulars about both the French and English versions, and both are available in full on you-tube. I recommend the complete symphonic recording for the English score, though it has to be streamed in segments. The Mackintosh production has been translated and produced in many languages--full performances in Spanish and German can also be found on You Tube.<o:p></o:p></div>
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The internet contains a veritable avalanche of blogs and other websites on all aspects of Hugo's novel, the musical, and films. After so much hype and reviews, reactions and commentaries, what more is to be said? Here is some of this writer's own very personal reflections on how well the show conveys the plot and sometimes the essence of the novel.<o:p></o:p></div>
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The musical <i>Les Miserables </i>takes the major incidents of Hugo's sprawling book, dispenses with the digressions, and of necessity with the change in art form, tells the its story through successive episodes, beginning with Valjean's release from his 19-year prison sentence, following many, but not all, of the fits and starts of his journey, and ends with his death in spiritual peace. The entire score is sung, opera-style, complete with recitatives à la Mozart or Rossini, to give many details to advance the plot. Many of its tunes are repeated in the way of Wagnerian leitmotifs, by different characters with different lyrics. The result is a coherent and dramatic whole manages to convey the spirit of Hugo's novel. That said, it's not a classic opera. Many of its songs are not arias but French Euro-pop melodies characteristic of the 1980's; some of its numbers evoke earlier prototypes: "Do You Hear The People Sing" is a modern <i>Marseillaise</i>, here used with some irony, since the uprising of 1832 was in reality pretty small. On the other hand, it still resonates: I heard it this morning on the radio in connection with an ongoing Filipino election campaign. "Master of the House" evokes <i>The Threepenny Opera</i>(particularly, not surprisingly, in the German production).<i></i><o:p></o:p></div>
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It's a theatrical necessity that the antithetical characters of Valjean and Javert be established at the beginning, at the time of Valjean's release from his sentence even though, in the novel, Javert doesn't recognize Valjean-the-criminal until he frees Fauchelevant from the overturned cart in M-sur-M. On the other hand, in no musical version is Gavroche identified as a member of the Thernadier family. As a matter of fact, Alain Boubil was inspired to conceive <i>Les Misérables </i>as a musical after he had seen a London production of <i>Oliver</i>, and was inspired by the character of the Artful Dodger as an inspiration for Hugo's urchin. In the musical, Gavroche is a sort of stand-alone symbol of all of the street-orphans of 19th-century Paris.<o:p></o:p></div>
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In the musical, it's the women become the most <i>misérable</i>. Éponine, who had been such a pampered child, becomes a street-waif as her family fails and moves to Paris. The musical omits her sister Azelma altogether. Éponine suffers from unrequited love of Marius, which allows the writer and composers to cast her as the tragic girl, and this sets her up for some terrific belted-out torch-songs (her part in "In My Life" and her solos "On My Own" and "A Little Drop of Rain.")<o:p></o:p></div>
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Fantine is the other victim, aware of what she's lost in "I Dreamed a Dream," and the tour-de-force narration in a single song of the chronicle of her fall ("Lovely Lady,") and her dying lament (which shares a melody with Éponine's "On My Own."<o:p></o:p></div>
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Each of the major characters gets at least one solo-soliloquy that really defines them. Valjean has the most, as appropriate for the principal hero. Most serve not only to define his personality but alto further the story ("What Have I Done,?," "Who Am I?," while "Bring Him Home" is an emotional ballad showing his humanity. Javert declares his personal morality in "Stars," and the final negation of it in the song before his suicide, which invokes portions of "Stars," but more importantly also the melody from Valjean's "What Have I done," effectively contrasting the start of one journey and the end of another.<o:p></o:p></div>
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All the digressive essays and so many of the novel's incidents are cut, both because of theatrical expediency, such as the incident where the fleeing Valjean and Cosette escape vertically from a blind alley, or for the sake of time (Valjean's second imprisonment). There are other scenes which encapsulate a lot of action into small timeframes that really work: for me this includes "Lovely Ladies," mentioned above, "Master of the House," particularly when the long introduction is retained, as it manages to compress the Battle of Waterloo into one line; and "One Day More," in which so many of the story lines, melodies and characters converge, to set up the rest of the plotline.<o:p></o:p></div>
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The epic scene at the barricades provides spectators with the big pile of street and domestic objects that make up the street blockage. The audience shares the space of the insurrectionists. The militia enemy is never seen, but the ominous fanfare that precedes <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">A real barricade in Paris: a daguerrotype from 1848</td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">each attack makes their menacing presence felt. So much of the story takes place in this space: the deaths of both Éponine and Gavroche, Javert's capture by the rebels and his release by Valjean and the battle itself ending with a tableau of the slaughtered insurrectionists, as well as Valjean entering the sewers with the wounded Marius. Even the song during a lull in the action, "Drink With Me," a personal favorite, combines black humor, bravado, and regrets, defining the personalities of diverse student participants. The futility of the uprising is first reflected in ambitious productions by having the barricade set revolve to its front side, to reveal the tableau of defeat and death, or in more modest ones simply presenting it by the way the actors fall on the fixed barricade set. then reflected by women collecting the participant's bodies ("Turning") and Marius's lament of survivor's guilt ("Empty Chairs with Empty Tables").</span><br />
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And then, there's the sewer scene with its eerie music that adds to its spooky, dark, sinister atmosphere.<o:p></o:p></div>
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I don't want to go on listing all the songs and how they function; others have done that. I just think that in the end, the musical play works very well in capturing the spirit of Hugo's novel, and I'm intrigued at how many theatrical conventions are used throughout the show. These include recitative, tableaux, traditional solos, and even an apotheosis, when all of the dead protagonists join Fantine as Valjean's moral muse, to see the redeemed old hero out.<o:p></o:p></div>
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A quick word on the 2012 film of the musical: it is good, perhaps better than most movie adaptations of Broadway/London theatrical productions. Some of the cuts from later productions of the stage show (including the explanatory prologue to "Master of the House") happen here too. On the other hand, the flexibility of filmed episodeso allow for a staging of the blind alley scene, though it's not particularly dramatic. A better addition is the actual building of the barricade, with people throwing furniture out of windows, and the staging of both sides of the street battle.<o:p></o:p></div>
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Casting in the film, though be better: Much as I like them both as actors, Russel Crowe is an opaque, thuggish Javert, while for me, Hugh Jackman is a far too youthful and attractive choice for Jean Valjean. Colm Wilkinson, whom I saw in the New York production, really incarnated Valjean for me--and though he played the Bishop in the movie, Jean Valjean he will always remain. The Thernadiers of Helena Bonham-Carter and Sacha Baron Cohen were very funny, but in their burlesquing never showed the darker side of the couple. That may be partially in the nature of the musical comedy tradition, but the late Leo Burmeister managed to juggle both in the Broadway production.<o:p></o:p></div>
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The musical version of <i>Les Misérables</i>had been the vehicle keeping Hugo's epic tale alive during the last decades of the 20th century and the first of the 21th. And it's still going: If anybody in San Antonio reads this, yet another traveling production will be here Sept 17-22, 2019 and you can get another dose. That is, if you haven't deserted it for <i>Hamilton.</i><o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">My Very Own Sweatshirt, bought in New York in 1987</td></tr>
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<i>_________________________________________________________________________</i></div>
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<span style="font-size: 12pt;">Wikipedia has a good article on the Musicals: <a href="https://en.wikipedia.org/wiki/Les_Mis%C3%A9rables_(musical)" target="_blank">https://en.wikipedia.org/wiki/Les_Misérables_(musical)</a></span><span style="font-family: -webkit-standard;"></span></div>
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The complete English symphonic production, with no cuts is available at:<o:p></o:p></div>
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<a href="https://www.youtube.com/watch?v=00P5Zc6lRlU&list=PL8f_ACV3dM08n8OUsPLwpDJQ94Gd77DTf" target="_blank">https://www.youtube.com/watch?v=00P5Zc6lRlU&list=PL8f_ACV3dM08n8OUsPLwpDJQ94Gd77DTf </a></div>
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(note that this is a link to the first segment. You then have to play each successive one)</div>
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<span style="font-size: 12pt;">The original French Concept (with stills from the show) version is at: </span><span style="font-family: -webkit-standard;"></span></div>
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<span style="font-size: 12pt;"><a href="https://www.youtube.com/watch?v=vFnXaGzFrwY" target="_blank">https://www.youtube.com/watch?v=vFnXaGzFrwY</a></span></div>
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<span style="font-size: 12pt;">A list of songs and their correspondences in the French and English versions, though incomplete and in need of checking and revision: <a href="https://en.wikipedia.org/wiki/Songs_from_Les_Mis%C3%A9rables" target="_blank">https://en.wikipedia.org/wiki/Songs_from_Les_Misérables</a></span><span style="font-family: -webkit-standard;"></span></div>
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<span style="font-size: 12pt;">Erin Kahn's thoughtful analysis of the differences between some texts in the French and English versions:<a href="http://woodbtwntheworlds.blogspot.com/2014/08/les-miserables-original-french-concept.html" target="_blank">http://woodbtwntheworlds.blogspot.com/2014/08/les-miserables-original-french-concept.html</a></span><span style="font-family: -webkit-standard;"></span></div>
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The whole German Version, performed in Duisberg, in 1999, though somewhat blurry:<o:p></o:p></div>
<a href="https://www.youtube.com/watch?v=Pisu16FmCxY%20(German-Duisberg%201999)" target="_blank">https://www.youtube.com/watch?v=Pisu16FmCxY (German-Duisberg 1999)</a><div>
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The Whole Spanish Version, Performed in 2011 in Madrid streams at:<a href="https://www.youtube.com/watch?v=vBf0pGatTvw" target="_blank">https://www.youtube.com/watch?v=vBf0pGatTvw</a><o:p></o:p></div>
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Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-28229287106619956662019-05-04T12:25:00.000-07:002019-05-04T12:25:01.000-07:00Miserables: Good Bad and Ugly, Part 1<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
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<tr><td class="tr-caption" style="text-align: center;">"Fantine," by Margaret Bernardine Hall (1886)</td></tr>
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In 1986, some friends who had been spending time in England raved about a new musical based on Victor Hugo's <i>Les Misérables</i>. When an American production was announced the following year, I asked my father if he could get us tickets for the next time we visited him and my mom in New York. The tickets were ridiculously expensive and almost impossible, but my Dad promised that if I read the Victor Hugo novel--complete and unabridged--he would get some. Well, I did and he did.<o:p></o:p></div>
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It was a good thing that our visit was months off, because Hugo's epic, over 1500 pages in the 1887 Hapgood English translation, took a long time to read. In the manner of some 19th-century novels (think <i>War and Peace</i>, for example), spanning a number of years, it has a large cast of characters, and spends a lot of time ruminating about them and their thoughts and habits. When you're done, you really know these fictional people in depth. The author divides his epic into 5 volumes, each subdivided into books, and these in turn into chapters. Each has its own title. Embedded in the novel are tangential essays on topics such as the Battle of Waterloo (more than 60 pages long), a meditation on convents (50 pages +), street urchins, Parisian street slang, barricades and how to build them, and a tour and history of Paris's sewers. <o:p></o:p></div>
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For the modern reader, it's a slog. Imagine, in the middle of a contemporary epic thriller, time out for a 50-page discussion of the D-Day invasion, merely because one of the character's uncles participated in it and a result had PTSD, which subsequently made it hard on his family, but only tangentially on the character herself?<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">"The Escalade"</td></tr>
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When the action moves along, the narration is riveting, for example when Valjean and Cosette, pursued by Javert and trapped in a blind alley, manage to escape in the dark by scaling a very tall wall, this being accomplished by skills that Valjean learned as a <span style="font-family: Arial, Helvetica, sans-serif;">criminal, and helped in no small way by his phenomenal stamina and strength. It was tense drama when I first read it, and remains so now on a second reading, even when I know how it turns out. </span></div>
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What most impresses me is that the principal characters in Hugo's novel, though very much embedded in their 19th-century world, are timeless, and they resonate in us to this day. Human nature, both positive and negative, transcends time. This is hard-wiring.<o:p></o:p></div>
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The two main antagonists, Jean Valjean and Javert are the most complex, and Hugo, by exploring their backstories, helps define this complexity. Some critics have suggested that in some ways these two men are very similar, but it seems to this reader that they are polar opposites in the way they cope with the traumas and events in their lives.<o:p></o:p></div>
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Valjean comes from a modest rural family. When he commits what would now be considered a misdemeanor, he is sentenced to the galleys for a five-year prison term--not uncommon back then. By the early 19th-century, criminals serving in galleys were no longer slave rowers. Many of them were physically housed on prison hulks by the city of Toulon, <i>Tikkun Olam</i>, "The Repair of the World." The process is slow, and at first he robs a boy of some money almost as a knee-jerk throwback to his prison life, but the rest of this massive novel chronicles his journey.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Jean Valjean as Mayor Madeleine</td></tr>
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and brought onshore to do chain-gang labor. Because of several escape attempts, Valjean's prison term stretched out to nineteen years. Hugo endows Jean Valjean with prodigious strength, but he is at first an anti-hero, and even later, never a superhero, but a conflicted and human one. On his release after 19 years, he must have been suffering from PTSD, not a condition known about back then, and at that moment anger at the society and system that incarcerated him. It takes the saintliness of Bishop Myriel, who not only gifts him materially, but who instills in him an isotope of trust and faith, to begin his metamorphosis into humanity and a desire to practice what Jewish belief calls<br />
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Hugo makes it clear that Valjean's own consciousness in his quest for self-redemption that when he surfaces in the town of "M sur M" and heroically rescues children from a fire, he assumes the name "Father Madeleine," certainly an identification with that premier Christian example of redemption, Mary Magdalen. He thrives there (including using his great strength to rescue a man from under a collapsed cart), and uses his wealth derived from the Bishop's silver to help the town become prosperous, eventually having his own jet bead factory and being elected Mayor. But he is still learning the ropes, defining morality too narrowly, and dismissing Fantine from his factory because she has lied about her illegitimate child. Later, when he tries to help her--too late--he begins to understand that human nature is seldom black and white, nor are the vagaries of living. It is then when his confrontation with his nemesis, the police inspector of his town, truly sets him on his own redemptive path, which will grow in him even through another, briefer prison term, from which he escapes, leaving him technically once again a fugitive.<o:p></o:p></div>
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I wonder if it is the fact that Valjean had a normal life and familial connections for 27 years before he stole that bread helped in the recuperation of his humanity. Is it this lack of a normal childhood that will determine the path of Inspector Javert? According to Hugo's description of him, Javert's features somewhat resemble a gorilla, and we never learn his first name. Hugo gives him a grim past: he is born within prison walls, his mother a fortune teller, his father a criminal. He is like Valjean in a fierce desire to better himself, but with no real childhood or family life, there's no underlying foundation of humanity. He will always see things strictly by his definition of lawful morality in black and white. Upholding the law is his one and only anchor to direct him out of the prison ambiance, which makes him a rigid<o:p></o:p></div>
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fundamentalist. He sees right and wrong as exclusive opposites. If you are in the wrong you can never be trusted because you can never rise above evil. It reminds me of some politicians now who cross off the eligibility of a candidate because he smoked a joint when he was 16.<br />
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When Javert formally meets Valjean as Mayor Madeleine when he becomes police chief in M sur M, he instinctively recognizes him as a formal criminal, though it takes him time to narrow his former identity down to Jean Valgean who he observed as a on the chain gang 16 years previously. When in the end Valjean spares his life at the barricades, this glimpse of the possibility of change rips away his absolute, rule-bound anchor, and his life becomes meaningless; suicide is the only solution.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Mr. & Mrs. Thernadier</td></tr>
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Other principal characters in the novel also still resonate, though they are less nuanced. Fantine, too innocent at first and too trusting of her lover (whom we could equate to a fraternity-boy stereotype), is an example of a good person making bad judgements. She becomes a victim of the sex trade after leaving her daughter with strangers. The Thernadier parents are scoundrels, rapacious and amoral. They keep turning up like bad pennies, leaving train wrecks behind them. Cosette also begins as a victim; I am surprised that her experience as Cinderella among the Thernadiers leaves her relatively unscathed--is Valjean's rescue and unconditional love timely enough to restore her innocence? And Marius, that privileged boy who manages to escape his monarchist, ultra-conservative grandfather's thumb, goes to the barricades not for any political ideal, but because he thinks he can't have the girl he loves?<o:p></o:p></div>
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Those of us old enough to have lived through the student unrest of the late 1960's can certainly identify with the ill-fated students from the ABC tavern and their abortive revolution. Enjolras is one of those pure political idealists who lives and dies for his ideology--but, like Javert, is completely lacking in compassion for the working poor he thinks he represents. These are the same upper middle-class young men as the fraternity boys who play around with Fantine and her friends, though youthful idealism sets them apart. <o:p></o:p></div>
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The street people we meet, especially two of the five Thenardier offspring, can find their echo in poor kids of any working people's neighborhood, though contemporary American society is more marginally fluid than that of France of the 1830's. Éponine and Gavroche have no way out, once they are dragged from lower middle-class marginal <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Marius Conforting the Dying Éponine</td></tr>
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respectability to the urban streets, and their parents join the underworld of Paris. These are intelligent children with initiative, and Éponine is the only female protagonist in the novel with who is independent-minded and mistress of her own fate, but at that time, there was really nowhere for her to go, and her attachment for the refined Marius is doomed from the start. Maybe if she lived in the United States in Hugo's time she might have grown up to be a tough pioneer, or if she had lived a little later, Calamity Jane.<br />
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I'm afraid this is a very superficial look at a very dense and complex novel. I am no literary critic. I have written these thoughts only to provide a basis for my next entry, which will deal with thoughts on <i>Les Misérables</i>as it has resonated in some its retelling in various media in the 19th and 20th centuries.<o:p></o:p></div>
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The best thing is to read the whole epic for yourselves. It is available uncut in the Hapgood translation online, and you can download the whole thing. It also includes the Gustave Brion illustrations for the original French publication of the novel in 1862. I will forgive you if you speed-read through or skip the Battle of Waterloo.<o:p></o:p></div>
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__________________________________________________________________________The project Gutenberg address for the Hapgood translation of Hugo's <i>Les Miserables is at:<a href="http://www.gutenberg.org/files/135/135-h/135-h.htm" target="_blank">http://www.gutenberg.org/files/135/135-h/135-h.htm</a></i></div>
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<span style="font-size: 12pt;">For an excellent synopsis and a lot of incidental information, see the Wikipedia entry: <a href="https://en.wikipedia.org/wiki/Les_Mis%C3%A9rables" target="_blank">https://en.wikipedia.org/wiki/Les_Misérables</a></span><span style="font-family: -webkit-standard;"></span></div>
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(an even more detailed synopsis can be found at the French Wikipedia site)</div>
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A plethora of 19th-century illustrations for the novel by various illustrators (and the source for the ones I use here) can be seen at:<a href="https://www.mtholyoke.edu/courses/rschwart/hist255s13/images/illustrations/page/image1.html" target="_blank">https://www.mtholyoke.edu/courses/rschwart/hist255s13/images/illustrations/page/image1.html</a><o:p></o:p></div>
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Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-36592336110142520502019-02-02T13:47:00.001-08:002019-02-02T13:47:28.423-08:00When Horror and Violence Are Expressed With Subtlety: Ramón Casas i Carbó Part III<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
<b>The [Cavalry] Charge (1899/1902)<o:p></o:p></b></div>
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<tr><td class="tr-caption" style="text-align: center;">Ramon Casas, <i>The Charge</i>, Olot, Museu de la Garrotxa</td></tr>
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Of the three paintings by Ramon Casas dealing with contemporary violence, <i>La Carga</i>(The [Cavalry] Charge is by far the largest--it's nearly 9 feet wide by 6 feet high. This panorama depicts the charge of mounted members of the Civil Guard breaking up a labor demonstration. The scenario takes place in non-specific plaza in Barcelona, against a backdrop of a church and smoky factories. A vast crowd of workers, escaping the charging police rushes towards the rear of the plaza. while a smaller group of laborers are being driven back in the foreground at the extreme right. Right next to the latter are two clearly defined figures: an isolated worker who has fallen, with a mounted policeman with a sword and flying cape, appearing to be ready to trample him. The rest of the intervening space in the plaza, occupying about two thirds of the surface, is empty except for the indistinct blob of another fallen figure close to the fleeing crowd. Almost all the color in the picture both in the setting and the figures, is in bleak, dusty neutrals. The only exceptions to this are in the black suit and white cuffs of the fallen man, and the black and white uniforms of the police, with one brilliant accent of the scarlet of their neck cloths.<o:p></o:p></div>
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Even more than in Casas' <i>Garrote Vil, </i>it is the startling emptiness of all of that open space--here like the eye of a hurricane, that makes the peripheral violence so intense.<o:p></o:p></div>
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By 1899, when Casas did this painting, Barcelona had been suffering not only anarchist bombings but a great deal of labor unrest, the largest being the May Day strike of 1890. This sort of labor unrest was certainly not confined to Barcelona, or Spain: The Homestead strike of steelworkers against Andrew Carnegie was occurring in the U.S. at the same time (1892). In Barcelona, another general strike would take place in 1902, and they would continue to occur all over Europe and the United States well into the 20th century.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Emanuel Leutze: <i>Washington Crossing <br />the Delaware,New York Metropolitan Museum</i></td></tr>
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But Casas himself declared that this painting did not reference a specific event. It was rather done as a modern equivalent to the noble tradition of "History Painting:" large-scale works that commemorated historical events, normally designated for public spaces. Goya's large <i>2nd of May, 1808</i>, painted in 1814 (along with the more celebrated<i>3rd of May)</i>, was <i>Washington Crossing the Delaware</i>(1851) --you get the idea. The main difference here is that this a dramatic scene of a familiar realistic event that could have happened--but not technically one of a single incident.<o:p></o:p><br />
likewise proposed by the painter as a commemorative history painting; and so certainly is Samuel Leutze's </div>
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<tr><td class="tr-caption" style="text-align: center;">Casas: "Noi de Toma"</td></tr>
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Art historians have pointed out that the plaza landscape encompasses a conflation of landmarks--the apparent church is a side view of Santa Maria del Mar, while the factories were located in the <i>Poble Sec </i>neighborhood, a significant distance away. Is there some irony in that these two locales were basically the real venues in Casas' other two paintings of violence (Santa Maria del Mar for the <i>Corpus </i>painting, the factory smokestacks visible in ? Various scholars have also pointed out that the fallen figure of the worker was modeled in Casas' studio; he was a well-known local character dubbed "Noi de Toma" (real name Josep Molera), and that Casas used his sketch of him in a cartoon for the magazine <i>Pel i Ploma</i>, showing a drunk man falling of the end of a tram. The face of the policeman was also used by Casas for a cover illustration of the same magazine, but here his eyes are open.<o:p></o:p><br />
<i>Garrote Vil</i></div>
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Carmen Lord, in her study of Ramon Casas, chronicles the lack of success of the original composition in the painting's rejection by the Spanish jury for submissions to the Paris Exposition Universelle in 1900. But the painting did eventually gain success--Casas made some modifications to the painting (including evidently the shift of the policeman's gaze from straight ahead (as it appeared in <i>Pel i Ploma) </i>to looking down towards the fallen man. He also gave it a more specific title: <i>Barcelona, 1902</i>!! -- maybe making it a more "real" history painting, since that was when that second violent general strike in Barcelona happened. He exhibited it at the Exposition Nationale des Beaux-Arts in Paris in 1903 to rave reviews--and references in the Catalan media marked its relevance to the strike of 1902.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Ramon Casas, Charles Deering </td></tr>
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Charles Deering, the American Farm Machinery magnate and art collector, saw the painting in 1904 when it was shown in Madrid, and was duly impressed--he made pains to meet the artist, and they subsequently became close friends, traveling together in Europe and America, and Casas eventually became associated Deering in his project to restore an old hospital in Sitges into a subsequent personal residence. Deering remained so impressed with <i>The Charge</i>, that he asked Casas to make a copy for him in 1911. Casas replied that he never made replicas of his own work, but would do a second different version for him. This painting, now in a private collection in Florida has the civil guards, this time on foot, in pursuit of a fleeing crowd of peasants. The setting this time is specific, the Plaça Mercadal in the town of Vic (it still exists and has a fabulous Saturday market). As is the case with <i>Garrote Vil</i>, Casas did a study without people of the site in preparation. But once more, this scene is a made-up event not a real one. The atmosphere is much darker--even rainy, the void between the peasants and the police is far less dramatic, and the coloring is much duller<o:p></o:p><br />
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<tr><td class="tr-caption" style="text-align: center;">Ramon Casas: <i>The Charge II, Florida, Private Collection</i></td></tr>
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--the police still have their red bandannas, but it is much more muted. Although Isabel Coll Mirabent, in her book on Deering and Casas praises the work for its subtle technique, the overall impression for this writer is one of dreariness, more like chasing a herd of bison seen from the rear than a panicked crowd of humanity.</div>
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<tr><td class="tr-caption" style="text-align: center;">Attempted Assassination of Alfonso XII</td></tr>
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Though non-specific (at least in its original conception), the original <i>Charge</i>is dynamic and effectively represents a scene of a type that many residents would have been familiar with. It's Casas' only real painting in which overt violence plays a part. This is fitting for the painter's one venture into a monumental "History Painting," but, like <i>Garrote Vil </i>and it's the implication--in this case that big void, that makes it so compelling, and a great drama, rather than a big group of fallen, bloody bodies or a large group of horsemen coming directly at you as seen in popular engravings of the period, such as the one showing an anarchist's attempted assassination of King Alfonso XII in 1878.<o:p></o:p><br />
<i>Corpus,</i></div>
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One final note: there is an excellent short film on the three violence paintings of Ramon Casas that visits the actual sites that Casas used, and goes into a great amount of detail, but, for English-speaking readers, has the disadvantage of being in Catalan. I provide the link below:<o:p></o:p></div>
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____________________________________________________________________________<o:p></o:p></div>
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Carmen Lord, <i>Point and Counterpoint: Ramon Casas in Paris and Barcelona</i>1866-1908. This is her doctoral dissertation from the University of Michigan (1995) available online through Proquest. <o:p></o:p></div>
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Isabel Coll Mirabent, <i>Charles Deering and Ramon Casas. A Friendship in Art</i>, Evanston, IL., Northwestern University Press, 2012.<o:p></o:p><br />
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For the excellent Video about Casas and the violence paintings (in Catalan) see:<a href="https://www.ccma.cat/tv3/alacarta/programa/La-carrega-de-Ramon-Casas/video/4272010/" target="_blank">https://www.ccma.cat/tv3/alacarta/programa/La-carrega-de-Ramon-Casas/video/4272010/</a><br />
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On the 1890 General Strike:<a href="https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/general-strike-spain" target="_blank">https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/general-strike-spain</a></div>
Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-15008314623994438122019-02-01T14:06:00.001-08:002019-02-01T14:15:40.295-08:00When Horror and Violence Are Expressed With Subtlety: Ramón Casas i Carbó -- Part II<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
<b>Corpus: Exit of The Corpus Christi Procession Leaving Santa Maria del Mar</b><o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: start;">Ramon Casas,Corpus,: <i>Exit of the Corpus Christi Procession Leaving Santa Maria del Mar, Barcelona</i>, MNAC</td></tr>
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This painting by Ramón Casas was exhibited at the at the IV Exhibition of Fine Arts and Artistic Industries at the Palace of Fine Arts in Barcelona. It won a gold medal, and was immediately purchased for Barcelona's Municipal Museum, and is now in the Museu Nacional d'Art de Catalunya. <o:p></o:p></div>
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It depicts a festive scene of the Corpus Christi procession leaving Barcelona's iconic church of Santa Maria del Mar. Part of the procession is already out of the picture, but a marcher is visible carrying a banner at center left, with other members of the parade leaving to go up the street in front of him. Behind, the rest of the parade waits to depart at the church door. This is a group of mostly secular marchers and a bevy of young girls in white, who have just taken their first communion. In the foreground at right, is a group of spectators seen from behind. Other viewers stand at left, while more merge to the right with the departing paraders, and even more can be seen from the multi-hued bunting-decorated balconies in the background. Mounted police in festive uniforms make space for the parade. <o:p></o:p></div>
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Everybody is milling around the festive scene. Though there are patches of empty street here as in <i>Garrote Vil, </i>here they wind diagonally as a river, adding to the composition's rhythm Though most of the coloring is neutral grays, blacks and whites, there are accents of bright color. A group of turquoise-uniformed officials, as well as colored hats among the spectators, the bright bunting and the red blouse of a mother with her chubby daughter who views the parade from the extreme right, as well as the billowing plumes of the policemen lend an air of pleasant excitement. In Casas' usual technique, a few details are picked out, but the rest is an impressionistic freely brushed-on composition. The faces of the little girls are pink blobs among their white veils.<o:p></o:p></div>
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This painting could pass as simply a slice of late 19th-century Barcelona life. The Corpus Christi processions in Barcelona and other Catalan towns were famous, and besides the <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Arcadi Mas i Fontevila, <i>Corpus Christi Procession,</i> <br />
Sitges, Maricel Museum</td></tr>
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religious procession, there were other secular events that accompanied it. A similar depiction of the Corpus festival in Sitges, way before invention of the famous flower carpets, was done by Arcadi Mas i Fondevila in 1888.<br />
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But there is a far more sinister agenda to Casas' painting, because by the time he completed and exhibited it, Barcelona's Corpus Christi Procession had been suspended for two years. That's because the 1896 parade was blasted by a terrorist bomb, as it was returning to its church. Six people were killed, including two children, and over forty injured. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">The Corpus Bombing: Contemporary Engraving</td></tr>
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During the 1890's, Barcelona had experienced not only labor unrest, but a series of bombings carried out by Anarchists. Two had occurred in 1893, one targeting a general, the other the bourgeoisie as they were attending an opera at the Liceu Theater. In the first two cases, the perpetrators were speedily arrested and executed, the first by a firing squad at the prison at Montjüic, the second, the Liceu bomber Santiago Salvador, publicly by garrote at the Pati dels Corders. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Corpus Christi Parade, 2016</td></tr>
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The official reaction to this third bombing was itself violent. The actual deed was committed by a French anarchist, but the government decided to crack down on local Anarchists too: arrests, imprisonments, five executions by firing squad and deportations followed. Labor <i>Setmana Tràgica</i>(Tragic Week) in 1909. The Corpus Christi festival would not resume until the Franco regime reinstated it in 1941 (it continues today in a more contemporary form in both Barcelona and Sitges, as well as other towns).<o:p></o:p></div>
unrest, anarchism and uprisings would continue in Barcelona, culminating in the<br />
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Carmen Lord's study of Ramon Cases includes several preparatory sketches, so he certainly had this painting in mind for a time beforehand, much as he had for <i>Garrote Vil.</i> But what is interesting is that he makes some deliberate artistic choices that depart from the actual event: To begin with, the bombing took place at nine in the evening, and the painting certainly implies a full daylight hour. In addition, the actual procession began at Barcelona's Cathedral, and after winding through neighborhood streets, ended at Santa María del Mar, rather than heading out from it. The bombing actually took place on the street approaching the church (Carrer dels Canvis Nous) to its right, and here the procession appears to be heading off to the left (Carrer de l'Argenteria).<o:p></o:p></div>
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But artistic notwithstanding, in Casas' painting, the facade of Santa Maria del Mar is readily identifiable, and to spectators at the exhibition this painting would have had immediate associations, and understood the subtlety of its message.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Southerland Springs First Baptist Church <br />
on an ordinary Sunday</td></tr>
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<span style="font-family: "calibri" , sans-serif; font-size: small;">To contemporary viewers, not knowing the backstory, the tragic implications associated with this festive scene would be lost, but this device of a tranquil preface to a violent act is still one used particularly in film and television, to this day. How many "Coming Soon" previews have we seen where the initial scene of happy ordinary lives is quickly blasted by some violent event? If someone were to do a pictorial scene of such an event today, it might be of the parishioners of the First Baptist Church of Sutherland Springs, Texas serenely going to Sunday services at around 10:30 on November 5, 2017, half an hour before Devin Patrick entered it with his </span><span style="font-family: "calibri" , sans-serif;">arsenal</span><span style="font-family: "calibri" , sans-serif; font-size: small;"> of death.</span><br />
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<span style="font-family: "calibri" , sans-serif; font-size: small;">There is a Part III. It will be posted soon.</span><br />
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Carmen Lord, <i>Point and Counterpoint: Ramon Casas in Paris and Barcelona,</i>1866-1908. This is her doctoral dissertation from the University of Michigan (1995) available online through Proquest. <o:p></o:p></div>
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An historical analysis of the Corpus Christi bombing can be found at an excerpt from <span style="background-color: white; font-family: "verdana" , sans-serif;">Temma Kaplin. </span><i><span style="font-family: "verdana" , sans-serif;">Red City, Blue Period: Social Movements in Picasso's Barcelona. </span></i><span style="background-color: white; font-family: "verdana" , sans-serif;">Berkeley: University of California Press, c1992:</span></div>
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<a href="https://publishing.cdlib.org/ucpressebooks/view?docId=ft9q2nb672&chunk.id=d0e641&toc.id=d0e238&brand=ucpress" target="_blank">https://publishing.cdlib.org/ucpressebooks/view?docId=ft9q2nb672&chunk.id=d0e641&toc.id=d0e238&brand=ucpress</a></div>
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The photo of the present-day Corpus Christi procession is by Margaret Coad, and is at:</div>
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<a href="https://margaretcoad.wordpress.com/2014/06/22/fiesta-del-corpus-the-feast-of-corpus-christi/" target="_blank">https://margaretcoad.wordpress.com/2014/06/22/fiesta-del-corpus-the-feast-of-corpus-christi/</a><br />
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A link to a You Tube of an Ordinary Sunday at Southerland Springs First Baptist Church:<a href="https://www.mysanantonio.com/news/local/article/First-Baptist-Church-YouTube-12335491.php" target="_blank">https://www.mysanantonio.com/news/local/article/First-Baptist-Church-YouTube-12335491.php</a><span id="goog_74852864"></span><span id="goog_74852865"></span><a href="https://www.blogger.com/"></a></div>
Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-43971758357380595122019-01-31T14:27:00.001-08:002019-01-31T14:27:34.143-08:00When Horror and Violence Are Expressed With Subtlety: Ramón Casas i Carbó<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
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<tr><td class="tr-caption" style="text-align: center;">Casas: Self-Portrait</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Ramon Casas: <i>Interior, Outdoors, Madrid<br />Museo Reina Sofie</i></td></tr>
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The Catalan painter Ramón Casas i Carbó (1866 - 1932) is barely known in the United States, though he was a prodigiously talented portrait painter and graphic artist. He was more or less Spain's answer to John Singer Sargent, who was about a decade older. Most of his paintings in the United States are in private collections in Florida and Chicago, reflecting the residences of his friend Charles Deering and his half-brother James, the very rich heirs of the farm machinery company that eventually became International Harvester. One exquisite work, the <i>Interior Outdoors</i>, depicting his sister and brother-in-law relaxing after lunch on the patio of their Barcelona apartment, was on view in San Antonio at the San Antonio Museum of Art last year in the exhibition of Spanish art that commemorated San Antonio's three-hundredth anniversary.<br />
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<tr><td class="tr-caption" style="text-align: center;">Ramon Casas: <i>Julia Peraire<br />Barcelona Cercle de Liceu</i></td></tr>
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Casas himself came from a wealthy family-- he was in no way a starving artist--and enjoyed great success in Spain during his lifetime. He was a mover and shaker in the Catalan equivalent of Art Nouveau, called <i>Modernisme</i>, and one of the investors and principal forces behind a short-lived but influential bar and art venue called <i>Els Quatre Gats</i>(the Four Cats), where the teen-aged Pablo Picasso had his first one-man show. He had a gorgeous model and girlfriend, Julia Peraire, whom he finally married later in life (she was 22 years his junior).<o:p></o:p></div>
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I do not intend to go into all the details of Casas personal and artistic life here, and can instead direct you to Carmen Lord's superb doctoral dissertation dealing with Casas's life between 1866 and 1908), which is available online, and the hard-to-find <i>Charles Deering and Ramon Casas, A Friendship in Art</i>by Isabel Coll Marbent (maybe a library near you has a copy) which deals with<o:p></o:p></div>
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What I want to discuss are just three paintings of Casas, all done in the 1890's, none of which is a charming portrait, but which instead chronicle contemporary events of violence, and how the artist dealt with them, in a way that is as far as you can get from the in-your-face explosiveness- approach to these things now--whether news events or fictional ones in film and other media.<o:p></o:p></div>
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<b>Garrote Vil ("Ordinary Garrotting") (1894)<o:p></o:p></b></div>
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<tr><td class="tr-caption" style="text-align: center;">Ramon Casas, <i>Garrote Vil</i>, Madrid, Museo Reina Sofía</td></tr>
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This painting, now in the Reina Cristina Museum in Madrid, depicts an execution of a real criminal named Aniceto Peinador condemned to death in 1893 for a robbery and murder committed three years earlier. At that time in Catalonia, executions were public, and the means of execution was garroting. This consisted of having the condemned sit in a chair on a platform, where an iron collar was placed around his neck; this was progressively tightened with a torque from behind until he died of strangulation; his body was then left there on exhibition for four hours, after which it was released for burial. In Barcelona these executions, all between 1891 and 1897, were carried out in the <i>Pati dels Corders </i>(the Ropemakers' Courtyard), which abutted the Reina Amalia prison (where Enriqueta Martí was later imprisoned). Subsequently, this means of death was performed indoors, out of the public eye, the last of them during the dying days of the Franco regime in 1974.<o:p></o:p></div>
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Casas was there in 1893, and, according to Carmen Lord, made some quick sketches. He also did a painting of the <i>Pati </i>empty of figures. In 1894, he would present his finished painting, entitled simply <i>Garrote Vil</i>, at his preferred gallery, the <i>Sala Parés.</i><br />
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<tr><td class="tr-caption" style="text-align: center;">Ramon Casas, <i>The Pati dels Corders</i></td></tr>
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The painting is stark and stunning: A large crowd rings the bleak <i>Pati dels Corders</i>, held back by the walls around it, as well as spectators hanging over all the balconies of surrounding buildings. The Reina Amalia prison with its wall and the one access doorway to the fatal spot is to the left. Black-robed members of the Society of the Holy Blood with pointed hoods and the vague figure of a crucifix ring the platform. Peinador sits in the execution chair, partially blocked by an inner ring of officials, while the executioner stands behind him. You can barely see the criminal, but the tension of the scene is heightened by the rings of blank patio space and the concentric disposition of drama's players. The foreground is occupied by spectators, mostly male, seen from the back and from a vantage point somewhat above them. The tilting of their hats in various directions provides tension, but their focus is avidly on the scene in front of them. In a subtle diagonal they focus on the victim, and tension is further achieved by the single bare vertical foreground tree somewhat off center; only later do we perceive that there were actually two rows of bare spindly trees within the patio itself.</div>
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The actual execution scene is far back on the patio, and the positioning of the figures there, reinforced by the gray horizontal block of the execution platform, appear very, very still. Adding to the feeling of foreboding is the smoky, industrial sky, the monochromatic buff-colored buildings, and the basically neutral tones of everyone's clothing. Only horizontal and gentle diagonal streaks of scarlet banners, and a few accents of the same color in scattered foreground hats break the monotony, but also serve to emphasize the dead space of the patio's open areas.<o:p></o:p></div>
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The painter's technique is fluid, but the lack of detail does not intrude on the geometry of the composition. Casas's painting, with its distant and partially obscured view of the execution itself, evokes horror through what we <i>don't </i>see clearly, but <i>know </i>what's going on.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Isidre Mompart's Execution (photograph)</td></tr>
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Photographs of garroting in the <i>Patí dels Corders </i>exist. The setting, the crowds and the victim, this time mass-murderer Isidre Mompart in 1891 are very similar, though the view is from the opposite side of the Patí, and the crowd in the <i>Patí </i>itself, far denser. This photo, taken by a member of the Holy Blood Brotherhood, was probably known to Casas. But the photograph, with a clear view of Mompart, perhaps already executed, though gruesome, is a chronicle not a commentary.<o:p></o:p></div>
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It is Casas' artistic adjustments in the painting that transform a messy, nasty public event into restrained commentary. When he first showed the painting in the Sala Parés, the memory was recent, and such executions ongoing. Carmen Lord comments that many of those who came to see the picture had attended the actual event. One delicate-minded lady actually fainted away in front of it. The painter subsequently exhibited it in Paris and at the National Fine Arts Exhibition in Madrid in 1895, where it won a medal.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Javier Bardem: Drooling Garrotee</td></tr>
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In its time, <i>Garrote Vil </i>was a sensation because of its depiction of a lurid public event. For this 21st century viewer, though, its distanced, nuanced view of the event and its restraint makes it far more horrifying as a sort of subtle commentary on violence that my lifetime has forgotten--we are so smitten with the violence of violence itself in minute, noisy detail. Some idea of the power of understatement vs. bombastic display may be suggested by a close-up of Don Lorenzo, the over-the-top villain played by Javier Bardem in Milos Forman's <span style="font-family: Calibri, sans-serif; font-size: 12pt;">cliché ridden and over-picturesque film </span><i style="font-family: Calibri, sans-serif;">Goya's Ghosts </i><span style="font-family: Calibri, sans-serif;">(2006).</span><span style="font-family: Calibri, sans-serif;"> </span><span style="font-family: Calibri, sans-serif;"> </span><span style="font-family: Calibri, sans-serif;">At the film's end, Don Lorenzo, after a sort of</span><span style="font-family: Calibri, sans-serif;"> </span><i style="font-family: Calibri, sans-serif;">auto-da-fé </i><span style="font-family: Calibri, sans-serif;">travesty, is garrotted in the street, up close and personal, and Bardem's character comes to a drooling end.</span><br />
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Two more paintings of social commentary await in part 2, coming up sooner rather than later.<o:p></o:p></div>
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Two works on Ramón Casas in English are:<o:p></o:p></div>
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Carmen Lord, <i>Point and Counterpoint: Ramon Casas in Paris and Barcelona</i>1866-1908. This is her doctoral dissertation from the University of Michigan (1995) available online through Proquest. <o:p></o:p></div>
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Isabel Coll Mirabent, <i>Charles Deering and Ramon Casas. A Friendship in Art</i>, Evanston, IL., Northwestern University Press, 2012.<br />
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On Aniceto Peinador's execution, see the entry in Miquel Barcelonauta's blog <i>Barcelofília</i>: <a href="http://barcelofilia.blogspot.com/2011/12/pati-de-corders-lloc-de-les-execucions.html" target="_blank">http://barcelofilia.blogspot.com/2011/12/pati-de-corders-lloc-de-les-execucions.html</a><o:p></o:p></div>
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<span style="font-size: 12pt;">There's a whole popular book on the Garrote Vil, if you have a morbid imagination: Eladio Romero Garcia, <i>Garrote Vil. Rituales de ejecución, verdugos y reos en la España contemporánea</i>, </span><span style="font-family: -webkit-standard;"></span></div>
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Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-91233643689844416902018-07-06T09:09:00.000-07:002018-07-06T09:09:50.305-07:00Star-Crossed Lovers: Probably Not (Mayerling), Part II<div class="MsoNormal" style="margin: 0in 0in 0.0001pt;">
<span style="font-family: Calibri, sans-serif;"> </span><span style="font-family: Trebuchet MS, sans-serif;">The truth behind the Mayerling incident remains murky. In the year since its publication, Greg King and Penny Wilson's investigation of it in <i>Twilight of Empire, </i>some of their conclusions is already under dispute.<i></i> In an online review, Jason Colavita takes issue of several of its authors' conclusions), pointing out, that many of the less savory theories were known as early as 1914 in chapters XX - XXII of Francis Gribble's <i>The Life of the Emperor Frans Joseph.<o:p></o:p></i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> Claude Anet's <i>Mayerling,</i>made into three films (1936, 1957 and 1968)--and a radio version on the <i>Lux Radio Theater</i>in 1939--voiced by William Powell and Janet Gaynor, frames it as the iconic story of star-crossed lovers, but hardly true to history. The murder-suicide of Archduke Rudolf of Hapsburg and Mary Vetsera had a far less romantic reality, and by 1936, many of its murky elements were already known<i><o:p></o:p></i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> Star-crossed lovers aside, there have been other works based on the Mayerling story that stand quite apart from Anet's novel. These include a stage play, another film, a ballet and two miniseries. the majority of them fictionalized. How these works treat the incident differs, of course by the type of medium, the personal views of the authors, how much about the facts or theories on what may have happened became known over time, and the context and attitudes of the time in which each was made.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Henry Hull (Rudolf), Dudley Digges (Frans Josef and Pauline Frederick (Elizabeth)<br />in <i>The Masque of Kings (1936)</i></span></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;"> The earliest was a play by Maxwell Anderson, entitled <i>The Masque of Kings, </i>which had its first and only run in New York from February to April of 1936, the same year that the Boyer film was released. This play, in blank verse, has been completely forgotten, as is the case of most of Anderson's historical dramas,. If Frank N. Nugent, who reviewed the Anet/Boyer film in 1937 (he liked it much better) is to be believed, the drama, really a political commentary, was confusing and </span><span style="font-family: "Trebuchet MS", sans-serif;">difficult to follow. In fact, it is one of the most fascinating riffs on the Mayerling legend. Anderson makes it all about the futility of the end of Empire. Rudolf, consigned to an impotent, subsidiary role to his father, Frans Josef, is portrayed as an enlightened liberal, and is deeply disapproving of his father's rule. When circumstances conspire to allow him to become King not only of Hungary, but Emperor in place of Frans Josef, he realizes that the only way to perpetuate his hereditary role is to become an authoritarian and anti-liberal continuation of his father, and instead opts to end his life in suicide. Mary Vetsera is presented as a young girl of easy virtue originally in the pay of Frans Josef, who redeems herself in her love for the Crown Prince. She commits suicide herself in the hours before Rudolf ends his own life. In the end, Frans Josef decides to cover up the reality of their deaths. The result is the author's condemnation of the flaws and ultimate decadence of totalitarian rule and the ultimate futility in the modern sense of concept of empire (or more recently, dictatorship).</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> Maxwell Anderson (1888-1959) was a pacifist, a journalist, playwright, adaptor, film-writer, and Pulitzer Prize winner, well known in the twentieth century, but now pretty much forgotten--his best-known works include <i>High Tor, Lost in the Stars, Anne of a Thousand Days </i>and<i>The Bad Seed.</i><i>The Masque of Kings </i>is perhaps the most forgotten of all his works; but a revival might actually be timely as political commentary.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;">Jean Marais and Dominique Blanchar, <i>Le Secret de Mayerling</i></span></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;"> One of the most far-fetched of conspiracy theories forms the basis for a 1949 film called <i>Le Secret de Mayerling),</i>starring Jean Marais and Dominique Blanchar. It begins with the body of Mary Vetsera being removed in secret from Mayerling and the start of the Imperial coverup of the death circumstances of Rudolf. It then flashes back to Rudolf's life as an Angry Young Man, involved with rebellion in Hungary. The villainess in the affair with Mary is Marie Larisch. We see Mary as a young </span><span style="font-family: "Trebuchet MS", sans-serif; text-align: center;">schoolgirl, replete with braids, groomed as she matures by Larisch and presented to Rudolf as a new item. After overcoming his compunction over her youth, they have their passionate affair--some of it taking place at Mayerling long before the fatal night. In the end, Frans Josef realizes that Rudolf's complicity with the Hungarians and his request for an annulment, presumably to marry Mary, makes him a security risk to the Empire, has both Rudolf and Mary murdered, and then proceeds to conspire to hide the whole thing. There have been other theories over the years that Mary and Rudolf were murdered at Mayerling in the course of a drunken brawl, but these have been long disproved. This film is the only dramatic work to propose a murder, but to have the Emperor himself as the perpetrator of this supposed double murder is unique.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Laurence Naismith as Frans Josef: <i>Requeum For a Crown Prince</i></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;"> Several decades later, in 1974, the deaths at Mayerling were included as the fourth episode called <i>Requiem for a Crown Prince</i>in a British miniseries dealing with the twilight of Imperial Europe entitled <i>Fall of Eagles.</i>This one is framed far more seriously as a docudrama. The episode is narrated by Count Eduard Taaffe, Frans Josef's Prime Minister, and deals with the consequences of the deaths, principally concerning the reactions of the Empress Elizabeth, the Vetsera family and Princess Stephanie, and as scrupulously as possible, the developing conspiracy of the coverup. In many of the Mayerling stories, Taaffe is characterized as the villainous enforcer of Frans Josef's reactionary policies. Here, he provides the dispassionate voice of political reason from the point of view of the grieving Emperor. There's not a hint of Deathless Love. <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Edward Watson (Rudolf) and Natalia Osipova (Mary) in <i>Mayerling</i></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;"> The sober account of Rudolf and Mary's double suicide (or murder-suicide) of <i>Fall of Eagles </i>finds its expressionistic antithesis in Kenneth MacMillan's ballet, <i>Mayerling </i>of 1978. If the <i>Lux Radio Theater </i>conveys its Anet-based story merely by voices, McMillan's decidedly un-Anet-like dance version does it entirely by physical gesture. Like the 1936 film, it uses Liszt's music as the basis of its score, but how differently does music function as a dramatic reinforcement there. In this three-act dance-drama, Rudolf is seen as a passionate, tortured young man, and the tragedy of his life is played out primarily in a series of <i>pas de deux</i>with some of the various women in his life: Marie Larisch, envisioned as an old mistress, the fiasco of his wedding-night with the innocent and inexperienced Princess Stephanie, his dysfunctional relationship with his mother, the Empress Elizabeth, the courtesan Mitzi Kaspar, and finally with Mary Vetsera, characterized as a fiery young sex kitten, whose death with Rudolf seems to be an almost logical dénouement when passion, guns and drugs aren't enough. But a surprising amount of detail is also portrayed in larger ensemble scenes, and there are interludes of very intense episodes with three conspiring Hungarians, who fan his conflicting emotions. <o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> Rudolf's fascination with guns and his use of morphine are shown, and his volatile personality is certainly expressed.. There are Hamlet-like echoes too--the Crown Prince's fascination with a skull that he keeps in his apartment (which he seems really to have done) and in his intense interview with his mother, but Rudolf is certainly no Prince of Denmark, bent on revenging his father. Perhaps the most poetic, if over-the-top version of the Rudolf-Mary affair, the ballet is to this date the most timeless version of the <i>Mayerling </i>story. It has had its latest revival in September, 2017, by the Houston Ballet. Though it debuted with mixed reviews--perhaps a reaction to its innovative shock value and violence, it is now considered to be Kenneth MacMillan's masterpiece. And maybe it's fitting that MacMillan died backstage at a performance in 1992.<o:p></o:p></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> It would be thought that by 2006, with increasing evidence coming to light, that a 3- hour television miniseries, filmed in Austria, with the title <i>Kronprinz Rudolf</i>, would reveal a lot of the conflicting details of the Mayerling story. It was directed by Robert Dornheim, and starred Max von Thun and Vittoria Puccini as the doomed lovers, and even had Omar Sharif, now in the role of a fictional artist and confidant of the Crown Prince. Many of the subtler details of what is known about the story are here: Rudolf's liberal thinking and his frustration in this direction by his father, his venereal disease and its transmission to his wife (though here, it's syphilis), his last night with Mitzi Kaspar before his suicide--and his attempt earlier to entice the latter into a suicide pact, his friendship with the liberal journalist Maurice Szeps, and his flirtation with Hungarian conspiracies. <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Omar Sharif as artist Hans Canon and Max von Thun as Rudolf<br /><i> </i>in<i> Kronprinz Rudolf</i></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnNwnRYM9yD7lIJH2Wrh12grQFSd3qDw5TI8aaz5Ay1Wz8giDavzGvs1zo787RdK-q3teC-GNsQKGSLG4_5O1s7WyCzicVNtqfb5XK-eZtB0Z8vZO1O7rmKwLMRJPbZLroC09LoIa9uHR1/s1600/13462221_1441e95bfaf6e95da3e62c7c6e82a942_1280re0.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><span style="font-family: Trebuchet MS, sans-serif;"></span></a><span style="font-family: Trebuchet MS, sans-serif;"> But this miniseries has lots of inventions too. To begin with, there's Rudolf's doomed early affair with a Jewish girl in Prague, perhaps inserted to explain his liberal-mindedness and also his later cynicism with regards to women(?). Then there is Sharif's artist character Hans Canon as a liberal confidant, and perhaps the only person capable of telling truths. Canon really existed, but died in 1885. In this version, Rudolf has a cynical affair early on with Helene Vetsera, and it is Helena who encourages Mary, (here an innocent blonde girl--not dissimilar in type to Catherine Deneuve) with what is at first a schoolgirl crush on the Crown Prince, to pursue an affair with him as she matures. Once again, legend and apocryphal inventions tend to smooth over all of the rough edges that seem to have existed in the Mayerling saga. It's a star-crossed lover (Mary) and Rudolf's last stand as a liberal visionary at the end, and very much in the soap-opera tradition that so often creep into the miniseries genre.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"> Does <i>anybody </i>know what really happened at Mayerling? It will probably always be both sordid and at least a little romantic--that never seems to disappear entirely. Which leaves me to wonder: what would the makers of <i>Babylon Berlin </i>ever do if they made their own series on this material?<o:p></o:p></span></div>
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<o:p><span style="font-family: Trebuchet MS, sans-serif;"> </span></o:p><span style="font-family: Calibri, sans-serif;">Francis Gribble,</span><span style="font-family: Calibri, sans-serif;"> </span><i style="font-family: Calibri, sans-serif;">The Life of the Emperor Frans Joseph, </i><span style="font-family: Calibri, sans-serif;">London, Evereigh Nash, 1914</span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 12pt;"> online at <a href="https://archive.org/details/lifeofemperorfra00gribiala" target="_blank">https://archive.org/details/lifeofemperorfra00gribiala</a></span><div>
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<span style="font-family: Calibri, sans-serif;">Jason Colavito's rebuttal article to King and Wilson's book:<a href="http://www.jasoncolavito.com/blog/review-of-twilight-of-empire-the-tragedy-at-mayerling-and-the-end-of-the-habsburgs-by-greg-king-and-penny-wilson" target="_blank"> http://www.jasoncolavito.com/blog/review-of-twilight-of-empire-the-tragedy-at-mayerling-and-the-end-of-the-habsburgs-by-greg-king-and-penny-wilson</a></span></div>
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<span style="font-family: Calibri, sans-serif;">The Lux Radio Theater Episode of <i>Mayerling </i>is at:<a href="https://www.youtube.com/watch?v=08HJMxTU67Q" target="_blank">https://www.youtube.com/watch?v=08HJMxTU67Q</a></span></div>
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<span style="font-family: Calibri, sans-serif;">The Marais and Blanchar <i>Le Secret de Mayerling</i> can be viewed at:<a href="https://www.youtube.com/watch?v=PBx8ncE2c-o" target="_blank">https://www.youtube.com/watch?v=PBx8ncE2c-o</a></span></div>
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Kenneth MacMillan's Royal Ballet production is available only on clips on YouTube, but a full-length Russian production of his ballet can be seen at: <a href="https://www.youtube.com/watch?v=nTNRFY4rztY" target="_blank">https://www.youtube.com/watch?v=nTNRFY4rztY</a></div>
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Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-67635935293970591372018-06-30T12:01:00.001-07:002018-06-30T12:04:12.748-07:00Star Crossed Lovers? Probably Not (Mayerling) - Part I<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
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<tr><td class="tr-caption" style="text-align: center;">Deneuve and Sharif: Star-crossed Lovers: 1968</td></tr>
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In my twenties, I caught a showing of the movie <i>Mayerling</i>, with Omar Sharif and Cathrine Deneuve (1968). I don't often cry in movies, but I blubbered at the end of this one, as Crown Prince Rudolf and his girlfriend Marie Vetsera, his One True Love, made a suicide pact, which they carried out when everything fell to pieces in Rudolf's frustrated life. Heir to the throne of Austria-Hungary, he had been denied any training in his duties as future Emperor by his inflexible and conservative father, Franz Josef, was not close to his fey mother Elizabeth, and in an unhappy marriage with Princess Stephanie of Belgium.<br />
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This story fell right into the tradition of "faithful unto death, and doomed for reasons of rank and power," that had been around for at least a millennium, when Kings and nobles ruled, and marriages were arranged for economic and political reasons to ensure that dynasty at whatever level were perpetuated, and love something else entirely. Operas, ballads and novels were full of them.<o:p></o:p></div>
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This particular tearjerker version of history had been already filmed twice, and all were based on a French novel by Claude Anet (the pen name of Jules Schopfer), entitled <i>Mayerling: <o:p></o:p></i></div>
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<tr><td class="tr-caption" style="text-align: center;">Claude Anet</td></tr>
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<i>The Life and Tragedy of a Crown Prince </i>(1930). The first film was in 1935, starring Charles Boyer and Danielle Darrieux, and directed by Anatole Litvak. The second was a made-for-television version in 1957, with Audrey Hepburn and Mel Ferrer.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Boyer and Darrieux</td></tr>
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All three followed the novel's plot, with the misunderstood and sensitive married Rudolf falling in love with Baroness Marie, who was very young and innocent. In fact, she's a beautiful cardboard heroine. We don't really know much of her character except that her pure devotion to Rudolf makes her avoid a marriage proposal from a Portuguese noble, Miguel de Bragança. Rudolf sees this pristine maiden as his salvation--even tries to get an annulment from his Princess wife so he can marry her. When things don't work out in that department, and incidentally a chance to become king of Hungary in a breakaway plot falls through, death is preferable. Suicide occurs at the hunting lodge at Mayerling, Rudolf shooting Marie first and then himself, grasping her hand in his as he dies.<o:p></o:p></div>
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There are slight differences and tweaks in the three versions, more due to when they were filmed than anything else. The 1935 version has the music of Liszt as its soundtrack, while the 1968 film uses the over-the-top love duet from the ballet <i>Spartacus </i>by Khachaturian. The black and white<o:p></o:p><br />
1935 film has wonderful stylized visual touches typical of cinema of that decade, while the 1968 production is all colorful uniforms, gorgeous costumes and extravagant longish hair and moustaches <br />
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<tr><td class="tr-caption" style="text-align: center;">Hepburn and Ferrer</td></tr>
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found in historical epics of that time. The Hepburn-Ferrer television is simplified and scaled down to an hour, as befits early television dramas, and, typical of the 1950's, lacks any implications of physical passion whatsoever. Perhaps this is partly driven by the fact that Ferrer and Hepburn were getting ready to divorce.</div>
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Anet's novel was an out-and-out romance, streamlining historical characters into a smarmy fiction. But the reality was utterly different. It appears that almost everyone concerned with the Mayerling affair was terribly flawed in one way and another, the murder-suicide scene gruesome, and Franz Josef, his advisors and members of his court had made great efforts to cover up the underlying motives and circumstances in Rudolf's death. A fascinating and thorough study authored by Penny Wilson and Greg King entitled <i>Twilight of Empire: The Tragedy of Mayerling and the End of the Hapsburgs</i>, published in 2017 reexamined all of the existing evidence and applied modern research techniques and forensics, revealing just how tragic and sordid the real story was. The Hapsburg court and most of the other European colonial dynasties were nearly exhausted by the end of the 19th century, and World War I would virtually put an end to most of them. Royal houses were hopelessly inbred among themselves, with resulting physical and mental anomalies rampant. If the Hapsburgs managed to avoid the hemophilia that afflicted the ruling families of England, Spain and Russia, they had their own pitfalls. Franz Joseph seemed to have escaped inherited eccentricities, but his increasing political and intellectual rigidity made his empire lag behind 19th-century modernization. His gorgeous wife, Elizabeth came from a notoriously eccentric family, with insanity winding in and out of it. She herself was constantly trying to run away from her Imperial responsibilities, and as she got older, she became anorexic and totally self-absorbed in maintaining the illusion of youth and beauty. She neglected all but her youngest daughter, including her one boy, Rudolf.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">The Real Crown Prince Rudolf</td></tr>
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The odds of normality for Rudolf were against him. He was highly intelligent and sensitive, but held distant from both parents, his education was haphazard, sometimes brutal and never systematically carried out. Even worse, as he reached his maturity, his father declined to allow him to participate in learning the craft of kingship. As a young man, he was politically liberal, and truly wished to bring reform into his future realm, but the Emperor pointedly denigrated or ignored his efforts, never allowing him to learn the discipline of making a well-thought-out political plan. As a consequence, he degenerated into what would now be called a "trust fund baby." By his mid-twenties, he had had more lovers than he could count, some of them prostitutes, many more members of the court or wives of his friends, and had contracted Gonorrhea from one of them, which he then transmitted to his wife, the Princess Stephanie. She had borne him a daughter early in their marriage, but her venereal disease then made her sterile. Apparently the only woman he could trust and who really befriended him was Mitzi Kasper, a courtesan, and thus outside court circles. He had become an alcoholic before he was out of his teens, and would also become addicted to morphine, first prescribed by his doctors for physical ailments. </div>
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<tr><td class="tr-caption" style="text-align: center;">The Real Mary Vetsera</td></tr>
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Marie Vetsera, or Mary, as she preferred to be called, was no innocent flower either. She came from minor nobility, but as a mere Baroness she was not admitted into inner Imperial circles. Her father, Albin von Vetsera, was a career diplomat, awarded the title by Frans Josef for his services. Her mother, Helene Baltozzi Vetsera came from an extremely wealthy cosmopolitan family whose fortunes were made in the Levant. Albin spend most of his career away from his family on various official missions. Helene, twenty-two years younger, took advantage of his numerous absences to conduct extra-marital affairs, including, possibly Rudolf when he was in his early twenties. The family had ennobled relatives in England, moving in the fast set of the Prince of Wales there, and Mary was raised to be fluent in several languages. By the time she was in her mid-teens, Mary had blossomed into a very voluptuous and flirtatious <i>femme fatale</i>. Her mother raised her and groomed her to marry well in the highest circles of nobility, hopefully to gain access to the courtly inner sanctum. She evidently did not worry about her daughter's virginity in the process. Helene engineered Mary into Rudolf's presence whenever possible, and Mary duly became infatuated, and by the time she was sixteen, was embroiled in what started out to be a passionate love affair with the Crown Prince, including visiting him once in his palace apartment clad only in a nightie with a fur coat on top.<o:p></o:p></div>
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Mary was aided and abetted by a rather shady court parasite, Countess Marie Larisch. Countess Larisch was a niece of Empress Elizabeth, who basically made her way through court life via pandering and blackmail. Using her courtly connections, she encouraged the liaison between Mary and Rudolf. The prince's reputation as far as women were concerned was certainly well-known, but Mary flaunted her relationship with him in a very brazen way, most notably refusing to curtsy to Princess Stephanie at a diplomatic reception. If she wasn't so blatant she might have aspired to become his official mistress, just as Katherina Schratt was with Frans Josef. Though there are stories that Rudolf tried and failed to secure an annulment from his marriage to Princess Stephanie, it certainly wasn't in order to marry Mary, and there is now evidence to suggest that the time of his suicide, he was pursuing other women as well as keeping his friendship with Mitzi Kaspar.<o:p></o:p></div>
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Mary's distinction, then, was so tangled up in infatuation, bad advice and fantasy that she became a consensual partner in Rudolf's double suicide plan (he had previously asked various male friends and Mitzi Kasper to join him in this pact, but they refused).<o:p></o:p></div>
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What finally set Rudolf to take his own life was the failure of the latest Hungarian conspiracy to break away from Austria, in this case offering him the crown of an independent Hungary. Perhaps he saw this as his last chance to make a contribution to his imperial heritage. At any rate, he shot Mary, and then sat with her body for six hours before he shot himself.<o:p></o:p></div>
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To avoid an imperial scandal, the government of Frans Josef enacted a coverup, burying Mary in secret in the monastery of Heiligenkreutz and giving Rudolf a state funeral, concealing his suicide with various prevarications so that he could have a Catholic state burial. In consequence, much of the evidence and documentation was hidden or destroyed.<o:p></o:p></div>
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Over the years, details of this scandalous story were either leaked, or rediscovered, and Wilson and King's study does a great deal to clarify what could be pieced together. It seems that, as with other contemporary royal dynasties, the period of their glories lay far behind, and almost all of them would perish with World War I.<o:p></o:p></div>
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In spite of all the murkiness, Maurice Anet's tale of star-crossed lovers and its movies endured during the 20th century for over 30 years. But the story also inspired other interpretations in film, dance, plays and a miniseries of the Mayerling legend right into the 21st. century, though with tweaks as new evidence surfaced. These will be explored in part II of this blogpost.<o:p></o:p><br />
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For this latest analysis of the Mayerling Story, see<br />
Greg King and Penny Wilson, <i>Twilight of Empire: The Tragedy at Mayerling and the End of the Hapsburgs,</i> New York, St. Martin's Press, 2017.<br />
<br />
A good, popular account of the end of the Hapsburg Dynasty (though a little out of date) can be found in<br />
Edmond Taylor, <i>The Fall of the Dynasties. The Collapse of the Order, Garden City, 1963. </i>It is now available in a reprint edition at Amazon.<br />
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The Hepburn-Ferrer version of <i>Mayerling</i> can be screened for free if you are an Amazon Prime member.<br />
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Only clips of the 1935 and 1968 versions of <i>Mayerling</i> are available on Youtube, but DVDs of both are available for sale.</div>
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Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-32182211742567544252018-02-11T11:50:00.000-08:002018-02-11T11:50:45.352-08:00AMERICA AMERICA: DREAMERS WONDER WHERE YOU'VE GONE<div class="MsoNormal">
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<i style="mso-bidi-font-style: normal;">America America</i>, Elia Kazan's account of how his Uncle Isaac came
to America.<span style="mso-spacerun: yes;"> </span>It's a long movie--3
hours--and filmed in black and white, but the on-location filming in Greece,
Turkey, its unknown actors, and its filming in black and white, often with the
camera hand-held, make it seem as contemporary as any indie film of 2018.<o:p></o:p></div>
Last night I finally got to see a movie my parents had
talked about 55 years ago when it first came out: <br />
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<span style="mso-tab-count: 1;"> </span>Starting in
Anatolia, Turkey in the 1890's, it chronicles the long, often blackly funny,
and very torturous journey of young Stavros Topoglouzou to his arrival as an
immigrant in the United States.<span style="mso-spacerun: yes;"> </span>The
Christian Greeks and Armenians lived a precarious life as minorities in Ottoman
Turkey, and when the Armenians in his village are slaughters by the Turks, his
middle class (by Anatolian standards) family decides to send him to Istanbul-was-Constantinople
with all of their accumulated worldly valuables to establish a family business with
a rug-dealing cousin there, and once established, to send for the rest of them.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Stavros on the road</td></tr>
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<span style="mso-tab-count: 1;"> </span>But Stavros
has other ideas: he doesn't want to stop in the Turkish capital, but once there,
to emigrate to America.<span style="mso-spacerun: yes;"> </span>And eventually,
he does.<span style="mso-spacerun: yes;"> </span>Meanwhile, though, he undergoes
some black-<span style="mso-spacerun: yes;">
</span>When he gets to the big city, he finds that his cousin's carpet business
is failing, and that the latter was hoping that the Topogoulou's family
valuables would help him start over.<span style="mso-spacerun: yes;"> </span>In
Constantanople, one scheme after another to earn enough money to emigrate falls
awry.<span style="mso-spacerun: yes;"> </span>The rug store is unsalvageable,
Stavros's backbreaking efforts to earn funds for a steamship ticket topples in
one night to a prostitute, to whom he loses his virginity and his cash
stash.<span style="mso-spacerun: yes;"> </span>His cousin introduces him to a
very rich friend with four ugly daughters.<span style="mso-spacerun: yes;">
</span>If he marries one of them (not so ugly after all), he will eventually
inherit a fortune.<span style="mso-spacerun: yes;"> </span>But for all of his
picaresque under-the-table past, he can't go through with it, having developed
a genuine affection for the girl, but feeling totally smothered by her way of
life and what he would have to buy into--and abandoning the American dream.<o:p></o:p></div>
comedic tribulations, losing all the family goods on the road to a
Turkish con-man and a bunch of Gypsies.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Finally, he
begins an affair with an American middle-aged woman married to a successful
Armenian American but very repulsive businessman, who are making a visit back
to the old country.<span style="mso-spacerun: yes;"> </span>When they return to
the United States, she gets him a steerage ticket on the same ship so that they
can continue their liaison.<span style="mso-spacerun: yes;"> </span>Discovered
by her husband just before they dock in the promised land, he is thrown into
the brig for certain return to Turkey.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>But there's
a subplot.<span style="mso-spacerun: yes;"> </span>Back in Anatolia he had met a
panhandling young Armenian named Hohannes Gardashian on his way to emigrate to
America on foot.<span style="mso-spacerun: yes;"> </span>Stavros gave him his
shoes.<span style="mso-spacerun: yes;"> </span>Later, they find each other again
in Constantanople.<span style="mso-spacerun: yes;"> </span>While Stavros is
playing the gigolo for a boat ticket, <span style="mso-spacerun: yes;"> </span>Hohannes is dying of Tuberculosis, and, in the
end, rather than being rejected at Ellis Island and shipped back himself, gives
Stavros his place and jumps overboard.<span style="mso-spacerun: yes;">
</span>And so, Stavros gets to America under an assumed name that is
Americanized anyway, and later gets all of his brothers and sisters over too.<o:p></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5mDLZGKqHhROxDR9GjSTSR9efhpPVmteXvujlt6N6ZO3EIz8W1b4z85LU6-VYG2h_hAXjjdADI1sdhre53WBBubTodJK9H2emMvGuJixoWYrk5M4U3ikdrOj3XVcJK25F5yCbOUQHd-Wi/s1600/america-america-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="883" data-original-width="1200" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5mDLZGKqHhROxDR9GjSTSR9efhpPVmteXvujlt6N6ZO3EIz8W1b4z85LU6-VYG2h_hAXjjdADI1sdhre53WBBubTodJK9H2emMvGuJixoWYrk5M4U3ikdrOj3XVcJK25F5yCbOUQHd-Wi/s320/america-america-1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stavros and Johannes (R) glimpse America</td></tr>
</tbody></table>
Hohannes has secured passage on the same
ship as part of a crew of indentured shoeshine boys being ushered into America
by an impresario: if they work for several years for tips only, they will then
be free to pursue other things. But <br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>There are
so many twists and turns in the plot that I can only suggest that you rent the
movie from Amazon and see it for yourself.<span style="mso-spacerun: yes;">
</span>As the grandchild of immigrants with a similar, but far less
action-packed story, I found myself enthralled.<span style="mso-spacerun: yes;">
</span>My ancestors too had been brought over one by one, but in a much more
orderly way.<span style="mso-spacerun: yes;"> </span>My dad, in fact, would have
probably been called a "dreamer," as he was born in Europe and
brought here when he was one year old.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>The amazing
timeless feeling to this movie is all the more poignant given our
Commander-in-Chief's "Build the Wall" attitude and the plight of the
dreamers as I write this.<span style="mso-spacerun: yes;"> </span>All of us who
are not of Native American stock are immigrants, and the majority of us (except
for the more tragic forced "immigration" of African Americans) came
here because they were fleeing intolerable conditions elsewhere.<span style="mso-spacerun: yes;"> </span>Really, when you think about it, most
migrations are triggered from similar situations, and all over the world (think
of the Rohinga).<span style="mso-spacerun: yes;"> </span>There were always a few
bad apples in the batch, and even in the halcyon days of American immigration,
undesirables were screened and not let in, but almost all of us made it here
without resorting to a Life of Crime.<span style="mso-spacerun: yes;"> </span>If
you think about it, consider Australia, where immigration was initially made up
of dumped undesirables.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdWkGBFDJA6sLfjms74lgf5d1oZslmS7MKlG-3NJUwFEjWQ-TWYPGBeh0rOK5q8z436zQ4cDY-ntq4cFlucS7A6tCZSBB037drP5-Qf_3GxA00yn9GMTPhMQTqwI_mZuA8S7wq519Ojm5T/s1600/74b23bc50ae713f18e96d11c54692ad4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="704" data-original-width="1046" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdWkGBFDJA6sLfjms74lgf5d1oZslmS7MKlG-3NJUwFEjWQ-TWYPGBeh0rOK5q8z436zQ4cDY-ntq4cFlucS7A6tCZSBB037drP5-Qf_3GxA00yn9GMTPhMQTqwI_mZuA8S7wq519Ojm5T/s320/74b23bc50ae713f18e96d11c54692ad4.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Elia Kazan on the set</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Elia Kazan
had a controversial career.<span style="mso-spacerun: yes;"> </span>He directed
so many classics: <i style="mso-bidi-font-style: normal;">On the Waterfront</i>, <i style="mso-bidi-font-style: normal;">East of Eden,</i> and <i style="mso-bidi-font-style: normal;">A Streetcar Named Desire</i>, to name just three, and received
countless awards for them.<span style="mso-spacerun: yes;"> </span>He also had a
tarnished reputation for his naming names during the infamous McCarthy
hearings.<span style="mso-spacerun: yes;"> </span>Like Roman Polanski, though,
as much as there are personal character disasters, when these
semi-autographical memoir film were made, for this writer, at least, the work
of art can stand on its own merits and messages.<o:p></o:p></div>
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<br /></div>
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<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>I wish that
"America America" could be re-released on the big screen now because
of its timeless timeliness.<span style="mso-spacerun: yes;"> </span>It's so
relevant to our American world!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
________________________________________________________________________________</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You can rent <i>America America</i> on Amazon Prime. $2.99. It's worth it.</div>
<div class="MsoNormal">
<br /></div>
Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-39930851343006713752017-11-28T14:46:00.000-08:002017-11-28T14:46:02.616-08:00EXTERMINATING ANGLES<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpLg-eG5PbWigvYN9PQMNhRncB7ymi160b5ynkYf89LZzVFfp2Jbzn3M0lh7cBq2zYltrJEsFwg9NCYbDa6ygtI5PEkPzYpS3L15Lrutlh_XY7l1y0eZevh5s_Rul0HVr6XGTcTAkAR2AJ/s1600/561389471.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpLg-eG5PbWigvYN9PQMNhRncB7ymi160b5ynkYf89LZzVFfp2Jbzn3M0lh7cBq2zYltrJEsFwg9NCYbDa6ygtI5PEkPzYpS3L15Lrutlh_XY7l1y0eZevh5s_Rul0HVr6XGTcTAkAR2AJ/s640/561389471.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Exterminating Angel</i> by Thomas Adès: the Dinner Party Begins</td></tr>
</tbody></table>
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A week or so ago, I went to the Economy Opera: The
Metropolitan Opera Live in HD at my local movies.<span style="mso-spacerun: yes;"> </span>The sound is great, the views unobstructed,
and I can sit back in a nice big recliner and eat popcorn too.<span style="mso-spacerun: yes;"> </span>The opera was a relatively new one by the
British composer Thomas Adès, entitled <i style="mso-bidi-font-style: normal;">The
Exterminating Angel</i>, replete with innovative instruments, including tiny
violins, and a really weird old electronic sliding keyboard called an ondes
martinot.<span style="mso-spacerun: yes;"> </span>One of the female leads, the
opera singer Letitia (Audrey Luna), sings the highest notes ever written in an
opera. I am no music critic, and so can't critically dissect the wonderfully
dissonant score, but I loved it.<o:p></o:p></div>
<div class="MsoNormal">
<o:p> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFVYjqHGxx3_67K3YH_BcLgQF96g7gtUEGTMP_PkasrbCAWvf4n4GHXyOtHl25vj4oYpltxbqMFtUxNNYOOYqW3hzg5wIegmo5Tvs7szkLngwUsctbLtoDhUfSjDiurukWQU1u8KfX4KHv/s1600/l-ange-exterminateur-el-angel-exterminador-01-05-1963-16-12-1962-1-g.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="795" data-original-width="971" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFVYjqHGxx3_67K3YH_BcLgQF96g7gtUEGTMP_PkasrbCAWvf4n4GHXyOtHl25vj4oYpltxbqMFtUxNNYOOYqW3hzg5wIegmo5Tvs7szkLngwUsctbLtoDhUfSjDiurukWQU1u8KfX4KHv/s320/l-ange-exterminateur-el-angel-exterminador-01-05-1963-16-12-1962-1-g.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Buñuel's <i>El Angel Exterminador</i>: The Dinner Party Begins</td></tr>
</tbody></table>
</o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>The plot
was adapted from a 1962 film by Luís Buñuel, <i style="mso-bidi-font-style: normal;">El Angel Exterminador</i>, so I had another look at that as well, in my
own living room (no popcorn this time, though) courtesy of Amazon Prime.. The
opera plotline follows the body of the movie: a group of wealthy people go to a
swanky dinner party, and afterwards discover that they are unable to leave.<span style="mso-spacerun: yes;"> </span>They are stuck in their evening finery in an
elegant salon, for some reason trapped there for days, or weeks maybe.<span style="mso-spacerun: yes;"> </span>Over time, their behavior becomes less and
less civilized: they cut into a water pipe to get drinking water, then
slaughter three sheep who apparently usually live in the garden, and roast them
over chopped up furniture.<span style="mso-spacerun: yes;"> </span>One partygoer
dies of a stroke, and a pair of young lovers decide that since they love each
other so much, things can't be better on the outside, and so they commit suicide.<span style="mso-spacerun: yes;"> </span>All three are deposited in the bathroom.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>In the
pre-cellphone era in which the story is set, nobody on the outside knows what's
happened, and they can no more enter the mansion than the dinner guests can
leave.<span style="mso-spacerun: yes;"> </span>Finally, one of the guests, that singer
named Letitia, figures out a way to break the spell, and they can all finally
go home--at least the ones still alive.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Luís Buñuel</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Buñuel's film,
with its black humor, is very characteristic of his very idiosyncratic style
and also reflects the issues of his time.<span style="mso-spacerun: yes;">
</span>Though made in Mexico, the movie is very much a satire on Franco's Spain
at the period and Buñuel's favorite whipping boys there: Spain's Fascist
government, <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
the reactionary high bourgeois ruling class of the time, and the
Catholic church, the latter most clearly seen in the film's epilogue: all the
former partygoers go to church for a mass of thanks after their liberation,
only to find that they are trapped there a second time, along with the
officiating clergy and other churchgoers. Not only can no one leave again, but they are soon joined by a flock of sheep who manage to enter---welcome to the Hotel California!<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>In the
course of the interminable dinner party itself, Buñuel takes potshots at other
belief systems besides Catholicism: neither the two guests who are freemasons
or the ailing and eccentric Leonora who pulls chicken feet from her purse and tries uttering
Kabbalistic phrases in Hebrew are able to break the spell either.<span style="mso-spacerun: yes;"> </span>Leticia's solution of having the guests
repeat some moments at the beginning of the party and having everyone present
assume the exact positions they were in at the time breaks the cycle of
enchantment before everyone can completely degenerate into murderous insanity.</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWnSrIP8cwJtLl9ahALF3V_9ELh12_ep5fSJo9S_T5373LpbtXPjpJKSY8B7N7R40ePwdsPBBxha6JFZT6feLRiDSqixoB52AcEPYybH8U_XN-L-Br6eHjmO2wdqqYCyfE8ySsczpLJWc6/s1600/image005.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="796" data-original-width="1061" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWnSrIP8cwJtLl9ahALF3V_9ELh12_ep5fSJo9S_T5373LpbtXPjpJKSY8B7N7R40ePwdsPBBxha6JFZT6feLRiDSqixoB52AcEPYybH8U_XN-L-Br6eHjmO2wdqqYCyfE8ySsczpLJWc6/s320/image005.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leonora, Kabbala and Chicken Feet</td></tr>
</tbody></table>
<o:p></o:p><br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Living in
Spain in the mid 1960's, just a few years after Buñuel made his film, I can see
exactly where he was coming from.<span style="mso-spacerun: yes;"> </span>Born
in the Aragonese town of Calanda, in Spain, he had been one of the iconoclastic
bad boys of Surrealism in Paris during the 1920's (remember <i style="mso-bidi-font-style: normal;">Chien Andalou</i> and that eyeball)?<span style="mso-spacerun: yes;"> </span>He subsequently returned to Spain during the
years of the Republic between 1931 and 1936, but left in 1937, and was to spend
most of his life abroad with periods in the U.S., France and Mexico. His one
foray back to the Motherland was to make the weirdly wonderful <i style="mso-bidi-font-style: normal;">Viridiana </i>in 1961, but that didn't go
well for him there; after all, this movie is slyly anticlerical.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You can
take the boy out of the country, but you can't take the country out of the
boy. Buñuel always kept a finger in
Surrealism and against the reactionary forces of the country of his birth,
though he long survived Franco. In <i style="mso-bidi-font-style: normal;">El
Angel Exterminador</i>, sheep and a bear cub wander around the mansion, some
scenes seem inexplicably repeated (though this repetition becomes crucial for
the exit strategy), and the occasional hallucinatory vision flits through.<o:p></o:p></div>
<div class="MsoNormal">
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<tr><td class="tr-caption" style="text-align: center;">Thomas Adès</td></tr>
</tbody></table>
</o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>In adapting
the film scenario to an opera, Thomas Adès and his librettist Tom Cairns have
basically remained true to Buñuel's film, but have not only made it more
modern, but also more timeless.<span style="mso-spacerun: yes;"> </span>The
seventeen characters trapped in Buñuel's salon are here reduced in number, and
the opera is an hour longer than the movie, which allows for more character
definition--you really get to know these people and begin to understand how
each of them reacts to their strange situation.<span style="mso-spacerun: yes;">
</span>The use of those little fiddles and the ondes martinot also add to the
weird mood at strategic moments. <span style="mso-spacerun: yes;"> </span>Since it's an opera,
the three musician characters (Letitia, the singer, the conductor and Bianca the
pianist) are more fleshed out, but others are too. The doctor becomes the voice
of reason far more than in the film, and the Colonel is a vain, exaggerated
military man. The religious satire is muted, and the references to Freemasonry
and Kabbalistic mutterings disappear, but the chicken feet remain as a symbol
of civilized logic breaking down. By the end, the guests appear far more
disheveled too.<o:p></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">The Opera: Sheep's head</td></tr>
</tbody></table>
Adès and Cairns even go one better than
Buñuel's surrealism by having one of the characters coddle the severed head of
one of the sheep.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>But what
really makes the Opera both more contemporary and timeless is that Adès and
Cairns chose to eliminate the church epilogue.<span style="mso-spacerun: yes;">
</span>The liberated guests stagger out to reunite with friends and family, but
we the viewers and listeners understand how close they became to degenerating
into anarchic savagery, and how thin the veneer of "civilization"
really is.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>I am
neither a knowledgeable music critic nor a film critic with technological
knowhow to really dissect the opera and the film in a profound way.<span style="mso-spacerun: yes;"> </span>For that I have added some links from real
critical experts.<span style="mso-spacerun: yes;"> </span>I do think though that
I'm a good audience-goer with enough cultural savvy to enjoy both the film and
the opera as end products.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<![endif]-->
<!--StartFragment-->
<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span><span style="font-family: Times, Times New Roman, serif;"><span style="font-size: 12pt;"> Could
you imagine a new film (or opera, for that matter) of the same story with "Red" and
"Blue" politicians and pundits (perhaps including the Trumps and the
Clintons) trapped in an endless Washington cocktail party?</span><!--EndFragment--></span><br />
<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span>
<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">_________________________________________________________________________________</span><br />
<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">A disclaimer: my pictures are filched from the Internet (as usual--most of the time). Some of the stills from the opera are from the British production. The opera itself premiered in </span><span style="font-family: Calibri, sans-serif;">Salzburg in 2016.</span><br />
<span style="font-family: Calibri, sans-serif;"><br /></span>
<span style="font-family: Calibri, sans-serif;">Buñuel's film can be rented for a modest fee from Amazon prime. It is also available on Youtube, as are clips from the opera. The Met should be encoring Adès's opera via their LIVE in HD series in local movie theaters somewhat later in the season.</span><br />
<span style="font-family: Calibri, sans-serif;"><br /></span>
<span style="font-family: Calibri, sans-serif;">The Wikipedia article on Luís Buñuel is thorough and well researched: <a href="https://en.wikipedia.org/wiki/Luis_Bu%C3%B1uel" target="_blank">https://en.wikipedia.org/wiki/Luis_Buñuel</a></span><br />
<br />
<br />
Roger Ebert wrote a wonderful review of the movie which can be read at: <a href="https://www.rogerebert.com/reviews/great-movie-the-exterminating-angel-1962" target="_blank">https://www.rogerebert.com/reviews/great-movie-the-exterminating-angel-1962</a><br />
<br />
Two Articles on the Opera that appeared in the <i>New York Times</i> are accessible at:<br />
<a href="https://www.nytimes.com/2017/11/01/arts/music/exterminating-angel-metropolitan-opera-thomas-ades-bunuel.html?_r=0" target="_blank">https://www.nytimes.com/2017/11/01/arts/music/exterminating-angel-metropolitan-opera-thomas-ades-bunuel.html?_r=0</a><br />
<br />
<a href="https://www.nytimes.com/2017/10/20/arts/music/thomas-ades-exterminating-angel-metropolitan-opera.html" target="_blank">https://www.nytimes.com/2017/10/20/arts/music/thomas-ades-exterminating-angel-metropolitan-opera.html</a><br />
<br />
A trailer for the opera can be seen at:<a href="https://www.youtube.com/watch?v=uEyy1wsl1eY" target="_blank">https://www.youtube.com/watch?v=uEyy1wsl1eY</a><br />
Maybe one day the whole thing will be available on youtube. I hope so.<br />
<br />
<br />Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-87635600733089858422017-10-31T14:07:00.002-07:002017-10-31T14:07:47.702-07:00Perfect for Halloween and Day of the Dead: The Dybbuk Movie of 1937<div class="MsoNormal">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSuugjAEkIH2E6BsmJQ6ftgt0N8DC64aJ-LZ_t3wGmWA5h0bIrd_TIqiIAMNHRuWjTU6BhAcXCdKB53IaE01sasgg4ZAwz3rUGN_BoTR3pYqrHk8OT3ElAM36ZCEHmAXjkxGvnzC3Rm_LX/s1600/anski1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="445" data-original-width="600" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSuugjAEkIH2E6BsmJQ6ftgt0N8DC64aJ-LZ_t3wGmWA5h0bIrd_TIqiIAMNHRuWjTU6BhAcXCdKB53IaE01sasgg4ZAwz3rUGN_BoTR3pYqrHk8OT3ElAM36ZCEHmAXjkxGvnzC3Rm_LX/s320/anski1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">S. An-Ski: Ethnographer, Author, Polyglot</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcWKRfaEz3Ih5Wlo0infzhzxKXQZK0D4t1uVf_yfyEK99qHu5QB2VPxIvwP7qs6GEe3UOW0Wl2zJhExJPd_1Vagd3UbuSy-RW1c9AqUuNIzQUfk9dp4puOYXyq3LiUFjQzr9GeKMWTqVgG/s1600/an-sky-expedition+copy.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="607" data-original-width="840" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcWKRfaEz3Ih5Wlo0infzhzxKXQZK0D4t1uVf_yfyEK99qHu5QB2VPxIvwP7qs6GEe3UOW0Wl2zJhExJPd_1Vagd3UbuSy-RW1c9AqUuNIzQUfk9dp4puOYXyq3LiUFjQzr9GeKMWTqVgG/s320/an-sky-expedition+copy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Recording in the Shetl</td></tr>
</tbody></table>
<div class="MsoNormal">
This past weekend, I had the chance to see the
Polish/Yiddish 1937 film <i style="mso-bidi-font-style: normal;">The Dybbuk</i>
again, restored and uncut, with new English subtitles.<span style="mso-spacerun: yes;"> </span>What a cool movie!<span style="mso-spacerun: yes;"> </span>It was based on a play with a complex
history, written by S. An-Ski (aka Shloyme Zanvi Rappoport).<span style="mso-spacerun: yes;"> </span>An-ski was a complex guy himself.<span style="mso-spacerun: yes;"> </span>A product of Eastern European 19th century
Jewish culture, An-Ski is best remembered as an ethnographer, who with a photographer
and musicologist, sought to study the vanishing culture of the Eastern European
Yiddish-speaking <i style="mso-bidi-font-style: normal;">shtetl</i> (village) of
his time in a series of expeditions made between 1912 and 1914 in what is now
the western Ukraine.</div>
<o:p></o:p><br />
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<br /></div>
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<span style="mso-tab-count: 1;"> </span>At around
the same time, An-Ski wrote <i style="mso-bidi-font-style: normal;">the Dybbuk.</i><span style="mso-spacerun: yes;"> </span>Completely bilingual in Russian and Yiddish,
he produced versions in both languages, beginning around 1911, and spent the
rest of his life trying to get it produced.<span style="mso-spacerun: yes;">
</span>It was first published in Moscowa in 1920, but in a Hebrew translation
by Chaim Bialek--which subsequently was performed by the Habima company there,
and went on to have a long life in Israel, not only in continuous performance,
but inspiring several operas (you can watch them on YouTube).<o:p></o:p></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDRIQGC2kW-1R2ALV51G80svl9s_FQvd_QDrArdhWjhFxr89C6Aae8P9FzYjxECpgKxPwgO1k3qBESGpcFXlpZWsPOpZlT23Uwyxm55ikRCnoZKPmr90pj_JyPZJvA1kP0c8tD9lA8QuMV/s1600/urn-cambridge.org-id-binary-18514-20160426062122734-0130-S0040557414000325_fig2g.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="741" data-original-width="1400" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDRIQGC2kW-1R2ALV51G80svl9s_FQvd_QDrArdhWjhFxr89C6Aae8P9FzYjxECpgKxPwgO1k3qBESGpcFXlpZWsPOpZlT23Uwyxm55ikRCnoZKPmr90pj_JyPZJvA1kP0c8tD9lA8QuMV/s320/urn-cambridge.org-id-binary-18514-20160426062122734-0130-S0040557414000325_fig2g.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Dybbuk: First Vilna Production</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>The Yiddish
premiere came in the city of Vilna (now Vilnius), a month after An-Ski's death,
and was an instant hit.<span style="mso-spacerun: yes;"> </span>It was later
translated into several languages and performed all over Europe, the United
States and Canada, and is still performed today.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>But in many
ways, it is the 1937 movie that has endured in the popular imagination.<span style="mso-spacerun: yes;"> </span>It was made in Poland in Yiddish, directed by
Mical Waszinsky, himself quite a character.<span style="mso-spacerun: yes;">
</span>Waszinsky had been born Moshe Waks in a Ukrainian shtetl, but later
moved to Warsaw, Poland and converted to Catholicism, after learning the film
director's trade from F.W. Murnau in Berlin.<span style="mso-spacerun: yes;">
</span>Most of his prolific film career in Warsaw lay in Polish films, but in
1937, he made <i style="mso-bidi-font-style: normal;">The Dybbuk</i> in Yiddish
with a Jewish theatrical cast.<span style="mso-spacerun: yes;"> </span>It was
filmed in Warsaw and on location in the Polish town of Kazimierz Dolny, called
Kuzmir by its Jewish population.<span style="mso-spacerun: yes;"> </span>It was
lucky to have been made then, because two years later the Nazis invaded and began
obliterating this culture altogether<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span><i style="mso-bidi-font-style: normal;">The
Dibbuk</i> probably remains the only Yiddish-language film that was targeted to
an audience beyond the local Yiddish speaking community. In order to do this,
the plot was enlarged with a back-story to explain its subsequent events.<span style="mso-spacerun: yes;"> </span>Its story in the movie is as follows:<o:p></o:p></div>
<div class="MsoNormal">
<o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDrMoikAbze5Opem-mmCezTExhkrQlzeN0YJfZXef56DMeMQGSrSZOq58HPKgl0YeiPGR57Dueadz35pmBQCJz1UN3oC-1ehySaZSXZmlYD-vtOHDG6ZdxekxvIguj-uBRlr1ZknPxYJsl/s1600/dybbuk_the+messenger+with+sender.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="624" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDrMoikAbze5Opem-mmCezTExhkrQlzeN0YJfZXef56DMeMQGSrSZOq58HPKgl0YeiPGR57Dueadz35pmBQCJz1UN3oC-1ehySaZSXZmlYD-vtOHDG6ZdxekxvIguj-uBRlr1ZknPxYJsl/s320/dybbuk_the+messenger+with+sender.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Dybbuk: The Messinger and the Young Sender</td></tr>
</tbody></table>
</o:p></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQs-Cgq0GQ_l1yet2Kv3xmmsQ67LBOkAsvKMWnfSF0UTYvugbfbsyT8AP9sZjp_20nLttLM8PdM27lRRKUc0fvmSjrT6lCip4Z7QvvozKA6N8eX3PaV14uQ8mE3ege3a15T5Z_Nf1OsQhL/s1600/0023c2f9.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="720" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQs-Cgq0GQ_l1yet2Kv3xmmsQ67LBOkAsvKMWnfSF0UTYvugbfbsyT8AP9sZjp_20nLttLM8PdM27lRRKUc0fvmSjrT6lCip4Z7QvvozKA6N8eX3PaV14uQ8mE3ege3a15T5Z_Nf1OsQhL/s320/0023c2f9.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Dybbuk: Leah and Chonan</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>In a little
Jewish town, two friends, Sender and Nisn, whose wives were both pregnant, made
a vow if one baby was a boy and the other a girl to marry them off when they
grew up.<span style="mso-spacerun: yes;"> </span>In spite of dire warnings from
a mysterious Messeinger, they declared their vow in front of the illustrious
visiting Rabbi.<span style="mso-spacerun: yes;"> </span>Sender duly had a
daughter, Leah, and Nisn a son, Chonan, but Sender's wife died in childbirth,
and Nisn, returning to his distant village just as his wife went into labor,
died on the way home.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Fast forward
18 years.<span style="mso-spacerun: yes;"> </span>Sender, now very rich, decided
to find an even richer match for Leah, now eighteen and gorgeous.<span style="mso-spacerun: yes;"> </span>Enter a poor itinerant student, none other
than the grown-up Chonan, who comes to Sender's town to continue his higher
education at the town's <i style="mso-bidi-font-style: normal;">Yeshiva.</i><span style="mso-spacerun: yes;"> </span>The Messenger reappears again, and persuades Sender to take in this poor student for his meals. Sender has forgotten his vow to Nisn, and
doesn't recognize the young man as Nisn's grown son. Leah and Chonan meet, instantly find a strong
bond, and realize that they belong together.
They wish to marry, but Sender will not hear of a poor match and
continues to pursue a more advantageous one.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>The
distraught Chonan turns to mystical means to achieve his goal.<span style="mso-spacerun: yes;"> </span>He studies Kabala and other, less savory
magic texts, starves himself with fasting, and finally even invokes Satan to
achieve his ends.<span style="mso-spacerun: yes;"> </span>For this last
transgression, he drops dead in the Synagogue.<span style="mso-spacerun: yes;">
</span>Leah is totally distraught, but even so her father goes ahead and
contracts a marriage for her with a rich but totally unattractive and stupid
prospect.<span style="mso-spacerun: yes;"> </span>The Messenger appears again,
and reveals to Sender that Chonan was the Nisn's son, and reminds him of the
vow--too late!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiITKKCurNwLbu0cuYlHePJfjkUvTJNz6Zu7oVbRrEQCEZviWWmpbV0JIFZuBcl8jcWFKdq5d51HI4NLh05wFLeizdFx-DIpgAvzxg1-Tl0DJSrAYYVeTTaySBDYmGgjjgT1C-e2Zn4HSmD/s1600/dybuk.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="336" data-original-width="438" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiITKKCurNwLbu0cuYlHePJfjkUvTJNz6Zu7oVbRrEQCEZviWWmpbV0JIFZuBcl8jcWFKdq5d51HI4NLh05wFLeizdFx-DIpgAvzxg1-Tl0DJSrAYYVeTTaySBDYmGgjjgT1C-e2Zn4HSmD/s320/dybuk.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Dybbuk:Leah at Chonan's Grave </td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>As
preparations for the marriage go ahead, Leah is taken to the cemetery to invite
the spirit of her mother to the wedding, as per local tradition.<span style="mso-spacerun: yes;"> </span>While there, she goes to Chonan's grave and
invites him also. The Messinger, lurking nearby, informs Leah's aunt, her
chaperone, and warns her about the dangers of letting the girl wander about the
cemetery alone--but--too late--the invitation has been <span style="mso-spacerun: yes;"> </span>Back in town, the marriage celebrations
begin, but in a macabre scene, Leah can only envision them as a dance with
death.<span style="mso-spacerun: yes;"> </span>When the time for the marriage
vows comes, she refuses her groom, crying out Chonan's name. Chonan has become a <i>Dybbuk</i>, a dislocated soul, and enters into Leah's body when she
calls out to him, and she begins to speak with his voice. Naturally the wedding doesn't go on. The distraught Sender makes every effort to
free Leah from Chonan's spirit, but both she and the spirit refuse. He finally takes her to a famous miracle-working
Rabbi, who first summons Nisn's spirit and asks his help to nullify the broken
vow. Nisn's spirit refuses him. Finally, with a blowing of seven shofars
(ram's horns) and the lighting of black candles at the Holy Ark of the
synagogue, Chonan's spirit is purged, but emptied of the spirit of her beloved,
and after portentous warnings by the Messinger, Leah dies in the synagogue.</div>
made, and accepted.<br />
<div class="MsoNormal">
<o:p></o:p></div>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>The film,
done in black and white, is expressionistic in style, not surprising
considering the director's training, and much of the dialogue is stylized, as
well as is the gestural acting, not only by the main characters, but in the
menacing figure of the Messenger, who appears and disappears throughout,
standing impassively, and giving dire commentary and sometimes warnings to all.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF-L6m3jjHAINAJiCfocDW0WidCFfgAomC_yxoqCwyEFnCDDrLPgOWQ6kxVWnqUBsEwF9vcvrABY7VJlr8cENJTqL8XajjnA9epOEVIjx7UHU9utyNK4XQiUjfvrUFUAZCJoZoNLPzRY-T/s1600/Dybbuk.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="645" data-original-width="800" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF-L6m3jjHAINAJiCfocDW0WidCFfgAomC_yxoqCwyEFnCDDrLPgOWQ6kxVWnqUBsEwF9vcvrABY7VJlr8cENJTqL8XajjnA9epOEVIjx7UHU9utyNK4XQiUjfvrUFUAZCJoZoNLPzRY-T/s320/Dybbuk.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Dybbuk: Leah, at The Wedding, Dances with Death</td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>I showed
the film during my classes of Jewish and Judaic art, primarily because it
offers one of the few, Pre-World War II glimpses into an Eastern European
synagogue "in action," and thus a picture of the very
soon-to-disappear world that An-Ski was documenting.<span style="mso-spacerun: yes;"> </span>After the war, of course, that world, that
culture and that language would vanish.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>What was so
very fascinating, though, was how my students reacted to the film: they loved
it.<span style="mso-spacerun: yes;"> </span>Most of my students weren't Jewish, but
the story resonated.<span style="mso-spacerun: yes;"> </span>Unrequited love and
hauntings exist through many cultures. In making such a "folkloric"
movie accessible to a wider audience as Waszinsky and his script-writers and
cast did, they also succeeded in making the film timeless.<span style="mso-spacerun: yes;"> </span>The story, after all, of star-crossed lovers
and the forbidden supernatural, is still plays loudly in popular imagination.<span style="mso-spacerun: yes;"> </span>The expressionistic, dark style transports us
to a spiritually strange world, where these things can happen.<span style="mso-spacerun: yes;"> </span>Modern versions would be loaded with CGI
effects that would be far more over-the-top, louder and loaded with exploding
color, but it's the very remoteness of the black and white stylization that
makes it so tragically mysterious--even with the in-your-face presence of The
Messenger.<o:p></o:p></div>
<div class="MsoNormal">
<o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwBGaNcv1bblpt94gp4_tdbEe_UKksMA16HzOPJGZP8QqNyheC75Ns9tMYQz51yIc7OSsnJf0PNMdBIVfmQ2yMwHa7mIj6CR8d0_S2xjk3YHvbnLsA_iU5RRIrh4ul4yFa2PM3O6u3uSxo/s1600/The-Dybbuk-Official-Photo-by-Andre%25CC%2581e-Lanthier-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1063" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwBGaNcv1bblpt94gp4_tdbEe_UKksMA16HzOPJGZP8QqNyheC75Ns9tMYQz51yIc7OSsnJf0PNMdBIVfmQ2yMwHa7mIj6CR8d0_S2xjk3YHvbnLsA_iU5RRIrh4ul4yFa2PM3O6u3uSxo/s320/The-Dybbuk-Official-Photo-by-Andre%25CC%2581e-Lanthier-1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Dybbuk: Montreal, 2015; Mystical???</td></tr>
</tbody></table>
</o:p></div>
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<span style="mso-tab-count: 1;"> </span>Of course,
if the story could have placed today, it never would have happened.<span style="mso-spacerun: yes;"> </span>a simple cellphone call would have told
Sender and Nisn's widow what had occurred in their respective towns, the vow
would have been remembered, and Leah and Chonan could have lived happily ever
after in a more egalitarian world.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
____________________________________________________________________<o:p></o:p></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span><o:p></o:p></div>
<div class="MsoNormal">
For an interesting account of An-Ski's ethnographic
expeditions, there is a wonderful book of photographs, entitled <i style="mso-bidi-font-style: normal;">Photographing the Jewish Nation, Pictures
from S. An-Sky's Ethnographic Expeditions</i>, Waltham, Massachusetts, Brandeis
University Press, 2009.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
An English translation of <i style="mso-bidi-font-style: normal;">The Dybbuk</i> is available:<o:p></o:p></div>
<div class="MsoNormal">
S. Ansky and David G. Roskies, <i style="mso-bidi-font-style: normal;">The Dybbuk and Other Writers,</i> New Haven, Yale University Press,
2002.<o:p></o:p></div>
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<br /></div>
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The complete, remastered 1937 film is viewable on YouTube:<a href="https://www.youtube.com/watch?v=tjy7O9sA1TQ&t=2707s" target="_blank">https://www.youtube.com/watch?v=tjy7O9sA1TQ&t=2707s</a><i style="mso-bidi-font-style: normal;"> <o:p></o:p></i></div>
Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-89600076908223867372017-08-20T16:13:00.000-07:002017-08-20T16:13:29.763-07:00Retirement Home For Ex-Heroes (Or Their Statues, Anyway)<div class="MsoNormal">
<span style="mso-tab-count: 1;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZG1CbV-ShdI5-amk8g0V4VYNwKJn7xOU17y9pxwMFGE9ICKa3lkUCV1MH3DYjfT5_a2OpTXMZD3slTGimHLMLeqC4swtkFz255Uxl70xkXhVICJxvBtY0UdmSKN5zqHwEgDcrQo4n5ToU/s1600/IMG_0674.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="965" data-original-width="1600" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZG1CbV-ShdI5-amk8g0V4VYNwKJn7xOU17y9pxwMFGE9ICKa3lkUCV1MH3DYjfT5_a2OpTXMZD3slTGimHLMLeqC4swtkFz255Uxl70xkXhVICJxvBtY0UdmSKN5zqHwEgDcrQo4n5ToU/s640/IMG_0674.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vladimir Lenin, et. al: Graveyard of Fallen Monuments, Moscow, 2007</td></tr>
</tbody></table>
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<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Today, my
local newspaper had several different articles concerning the recent opposition
to Confederate monuments, and the efforts to remove them. Beyond the reporting
hullabaloo of the events in Virginia and elsewhere, there were also two that
were almost like sidebars.<span style="mso-spacerun: yes;"> </span>One was an
editorial by Rich Lowry, in which it was pointed out that Robert E. Lee himself
did not believe in erecting monuments to the confederacy.<span style="mso-spacerun: yes;"> </span>The other was an article about a statue of
Vladimir Lenin, 16 feet tall, by Emil Venkov, originally from Slovakia, but now
residing in a park in the Fremont neighborhood in Seattle.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh-kkYz496HuTOoL3rlop2sRheyNw2XMzbP_39oNLntvRPI_jgiMNEW3My7Rf1LITjbvz-KZB8v8N6brigTh11mG5snKpcjHWDm3N7zvukoIAHXAeg561lNzu2uR53V31fymskQSc-0aly/s1600/IMG_0678.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh-kkYz496HuTOoL3rlop2sRheyNw2XMzbP_39oNLntvRPI_jgiMNEW3My7Rf1LITjbvz-KZB8v8N6brigTh11mG5snKpcjHWDm3N7zvukoIAHXAeg561lNzu2uR53V31fymskQSc-0aly/s320/IMG_0678.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Heroic Soviet Soldier, Moscow 2007</td></tr>
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<span style="mso-tab-count: 1;"> </span>Ten years
ago, on a visit to Moscow, and after visiting the usual sights, the subway, Red
Square, etc. (and even seeing a set of nesting dolls from the 2007 San Antonio
Spurs, which I could kick myself for not buying), we visited a park that our
guide wryly called “The Park of Fallen Idols.”<span style="mso-spacerun: yes;">
</span>Its official title was the “Graveyard of Fallen Monuments,” and it
housed a large collection of images of Lenin, Stalin, other Soviet Officials
from the first two-thirds of the 20<sup>th</sup> century, and socialist-<o:p></o:p></div>
realist
images of Heroic Workers, etc.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>I am told
that these are still in what is now an extended park, called The Muzeon Park of
Arts, now with the adjacent Krimsky Val Building housing the Tretyakov Museum’s
Modern Art Division and the Central House of Artists, and that a lot of
contemporary sculpture and installations are also to be found there as well.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>When I saw
it back then, I thought that this was a terrific solution of what to do with
images of heroes gone out of political correctness or fashion.<span style="mso-spacerun: yes;"> </span>I understand that Vilnius and Budapest also
have obsolete monument parks.<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc8whpv-wQ8KZJgxGxNU2CBgBh_jIgayvtVvtVhr43j7V9E-nqBiaRqjlv3LCkdvKlpZJOSxfdmPAPie6amGp_icYUg1itXkQAubpDUH5z7rLG4K0Ay3NhAztDqYL3GYYss93LjHG54M5I/s1600/2327711764_12799bf7ae_b.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="760" data-original-width="437" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc8whpv-wQ8KZJgxGxNU2CBgBh_jIgayvtVvtVhr43j7V9E-nqBiaRqjlv3LCkdvKlpZJOSxfdmPAPie6amGp_icYUg1itXkQAubpDUH5z7rLG4K0Ay3NhAztDqYL3GYYss93LjHG54M5I/s320/2327711764_12799bf7ae_b.jpg" width="184" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Benedict Arnold<br />
https://www.flickr.com/photos/rob-the-org/2327711764</td></tr>
</tbody></table>
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<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>What if we
could set aside a public space to put all of those monuments that are obsolete,
at least for the present way of thinking, of the majority?<span style="mso-spacerun: yes;"> </span>Not only a passel of Confederate generals
<span style="mso-spacerun: yes;"> </span>If you really wanted
to see them, you could go there.<o:p></o:p></div>
could be parked there, but, according to whoever’s ideology is ascendant whatever
other former monuments to demoted heroes—Benedict Arnold, maybe, or Joseph
McCarthy, or Nixon?<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>Human
history is full of images of fallen idols; we have been destroying them ever
since the Israelites smashed images of Baal, and probably a long time before
that.<span style="mso-spacerun: yes;"> </span>Isis and the Taliban are still
doing it.<o:p></o:p></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOtUCBm80mfY4UrQ2zosC63LJQnmqnLxP6N7DUXUOQqis5IrGQIL_PsX89I6viWcpa7h_uYvkdM8bGMdB6hYVfRNwsUTHR4bdSQvTTnQRUfaO4fv7O1m20JJcKubGGvz5BCFZnAGYtzCF4/s1600/plaster-joe-mccarthy.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="389" data-original-width="500" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOtUCBm80mfY4UrQ2zosC63LJQnmqnLxP6N7DUXUOQqis5IrGQIL_PsX89I6viWcpa7h_uYvkdM8bGMdB6hYVfRNwsUTHR4bdSQvTTnQRUfaO4fv7O1m20JJcKubGGvz5BCFZnAGYtzCF4/s200/plaster-joe-mccarthy.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joseph McCarthy</td></tr>
</tbody></table>
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<span style="mso-tab-count: 1;"> </span>Art
historically, I think that the majority of these images over the centuries aren’t
very good as works of art (how many equestrian generals decorate public parks—and
not just in the U.S., and does anyone know or care who they are)?<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<span style="mso-spacerun: yes;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-tab-count: 1;"> </span>As humans,
we seem to have this primal urge to memorialize things, to make images of them,
even though orthodox Islam and Judaism, and some Christian denominations, among
other belief systems, decry it.<span style="mso-spacerun: yes;"> </span>Sometimes,
the images can transcend their original context and convey a more powerful
human emotional message.<span style="mso-spacerun: yes;"> </span>For this Euro-American
centered art historian two immediately come to mind.<span style="mso-spacerun: yes;"> </span>One is Picasso’s <i style="mso-bidi-font-style: normal;">Guernica</i>, which I first saw as a child when it was camping out during
the Franco regime in New York’s Museum of Modern Art.<span style="mso-spacerun: yes;"> </span>It’s so stark, the agony of its message so
powerful, that it transcends any specific war and speaks for any and all of
them.<o:p></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_LMNwJLV0p8beqpUnav-a5_iNTq-sooE4YkHxIs1CmOr_iZS8g8zK5g6S57CqGazirDAzfNx6_Ovr3brBwc79vLg4JSmj9KniC9Y-UGrZqmMYe6HFi8wXXgriSrNa3SF-rR2v01CMMjR/s1600/guernica.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_LMNwJLV0p8beqpUnav-a5_iNTq-sooE4YkHxIs1CmOr_iZS8g8zK5g6S57CqGazirDAzfNx6_Ovr3brBwc79vLg4JSmj9KniC9Y-UGrZqmMYe6HFi8wXXgriSrNa3SF-rR2v01CMMjR/s640/guernica.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Picasso: Guernica, Madrid Museo del Centro de Arte Reina Sofia</td></tr>
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<span style="mso-tab-count: 1;"> </span>The other
is Rodin’s images commemorating the <i style="mso-bidi-font-style: normal;">Burghers
of Calais.</i> It commemorates a group of 15<sup>th</sup> century civic leaders
of Calais, who were ready to sacrifice themselves to save their city.<span style="mso-spacerun: yes;"> </span>This isn’t an event that anyone remembers,
and many people are forgetting Franco’s bombing of the Basque town Guernika 80
years ago in 1937 too.<span style="mso-spacerun: yes;"> </span>But Rodin’s
images are universal: they could stand in for Holocaust victims or any other
martyrs you can name, much as can Picasso’s agonized people and animals.<span style="mso-spacerun: yes;"> </span>Maybe this is why Rodin’s <i style="mso-bidi-font-style: normal;">Burghers</i> exist in twelve sets of casts that
are located from Calais itself, to Copenhagen, Washington, Seoul and Tokyo.<o:p></o:p></div>
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<br /></div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0RLTD_e_gLdnLM4nBxpjFW7bsGtnwbVzzvFGjO-HSeBQdTwFyl5y3abNcMj3KHel5-HDaCfSvNK7379YEHAEAoNLWfMTEf7tWFG_eI_x7J_43vFyZqyi-VDzL08-_XrL6Ocw7_azKxfAi/s1600/Rodin_Burghers_of_Calais_Hirshhorn.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1127" data-original-width="1503" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0RLTD_e_gLdnLM4nBxpjFW7bsGtnwbVzzvFGjO-HSeBQdTwFyl5y3abNcMj3KHel5-HDaCfSvNK7379YEHAEAoNLWfMTEf7tWFG_eI_x7J_43vFyZqyi-VDzL08-_XrL6Ocw7_azKxfAi/s400/Rodin_Burghers_of_Calais_Hirshhorn.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rodin: Burghers of Calais: Washington, Hirshhorn Museum</td></tr>
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<span style="mso-tab-count: 1;"> </span>The symbolism
and durability values of monuments is a can of worms, and I don’t really don’t
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________________________________________________________________________________</div>
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The two cited articles appeared in the August 20, 2017 <i style="mso-bidi-font-style: normal;">San Antonio Express-News.</i><span style="mso-spacerun: yes;"> </span>Rich Lowery’s article is entitled “Heed
Robert E. Lee’s words on monuments to Confederacy, which appears in Section F,
p. 3, the other, without a byline, but taken from the <i style="mso-bidi-font-style: normal;">Washington Post</i>, is found in Section A, p. 13.<span style="mso-spacerun: yes;"> </span>It is entitled “Seattle’s statue of Lenin is
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<!--StartFragment--><i><span style="font-family: "calibri"; font-size: 12.0pt;">Wikipedia’s</span></i><span style="font-family: "calibri"; font-size: 12.0pt;">
article on the Muzeon Park of Arts in Moscow: </span><!--EndFragment--></div>
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A nice introductory article on the <i>Burghers of Calais </i>is at the Khan academy website:</div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<!--StartFragment--><span style="font-family: "calibri"; font-size: 12.0pt;">And for a strange Charlottesville <i>Guernica </i>analogy, at least to one
journalist, see the photograph at:</span></div>
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<a href="https://thewire.in/169117/picasso-guernica-ryan-kelly-charlottesville/">https://thewire.in/169117/picasso-guernica-ryan-kelly-charlottesville/</a> (note. I couldn't load this link. You'll have to copy and paste.)<o:p></o:p></div>
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" Priority="9" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
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<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com0tag:blogger.com,1999:blog-4738013906519571437.post-55603412491963472242017-06-15T14:46:00.003-07:002017-06-15T14:51:36.390-07:00Massacre at the Field of Dreams<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWD275VGVVLrvGdHzUANc08kkKsE41X4cr27rFg1vlVgE_9J2P-otVyaesNMxMZD8dHRI9O6oO_BRa0zNjP17BOarC5TXy3eF8ptlop1SQXnR5y50u9H8IN3e5R5myTHMxKDS8VQ56nEM/s1600/22920010-mmmain.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="413" data-original-width="620" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxWD275VGVVLrvGdHzUANc08kkKsE41X4cr27rFg1vlVgE_9J2P-otVyaesNMxMZD8dHRI9O6oO_BRa0zNjP17BOarC5TXy3eF8ptlop1SQXnR5y50u9H8IN3e5R5myTHMxKDS8VQ56nEM/s320/22920010-mmmain.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Senator James Flake: Field of Nightmares</td></tr>
</tbody></table>
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<span style="font-family: "calibri"; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> <span style="color: orange;">The mass shooting of Republican Congressional
baseball players is, of course, just the latest in the series of such acts,
mostly, it seems by loners of every stripe with axes—mostly irrational—to grind.<span style="mso-spacerun: yes;"> </span>It looks as if anybody could be a target, no
matter what age, race, sexual orientation, political ideology, being a school
student or whatever the shooter’s issue <i style="mso-bidi-font-style: normal;">du
jour</i> is.<o:p></o:p></span></span></div>
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<span style="color: orange;"><br /></span></div>
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<span style="font-family: "calibri"; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="color: orange;"><span style="mso-tab-count: 1;"> </span>Maybe
it’s because I’m a baseball fan, but this one strikes me as the most heinous of
all.<span style="mso-spacerun: yes;"> </span>Sports should be where we fight
mock battles—with a beer afterwards—not real ones.<span style="mso-spacerun: yes;"> </span>If baseball is no longer “America’s Pastime,”
and football or basketball is, that’s fine with me.<span style="mso-spacerun: yes;"> </span>But I think that baseball is still the
national sport in people’s nostalgia, maybe best expressed by <span style="mso-spacerun: yes;"> </span>James Earl Jones in the character of Terence
Mann in </span><i style="mso-bidi-font-style: normal;"><span style="color: orange;">Field of Dreams:</span><o:p></o:p></i></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="background-color: #f6f6f6; font-family: "calibri";"><span style="color: red;">“The one constant through all the years Ray,
has been baseball. America has rolled by like an army of steamrollers. It’s
been erased like a blackboard, rebuilt and erased again. But baseball has marked
the time. This field, this game, is a part of our past, Ray. It reminds us of
all that once was good, and that could be again.”</span><span style="color: #231f20;"><o:p></o:p></span></span></i></div>
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<br /></div>
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<span style="font-family: "calibri"; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="color: orange;">Compared
with the continuous excitement of basketball, or the lurching physical pileups in
football, baseball is slow, except for a few seconds of action now and then,
giving girls like me time to gossip between plays, or, if I’m at a game alone
or watching one in TV, time to let my mind wander.<span style="mso-spacerun: yes;"> </span>The action is certainly physical, but, except
for some controversial plays or “bench clearers,” it is elegant, and slow
enough that you can see all the action of a play or a hit pretty clearly.<span style="mso-spacerun: yes;"> </span>It can extend an awfully long time, if a</span> <span style="color: orange;">game
is tied and extra innings are needed, and, as George Carlin famously put it:</span><o:p></o:p></span></div>
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<span style="color: #6fa8dc;"><span style="font-family: "calibri"; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“</i></span><i style="mso-bidi-font-style: normal;"><span style="background-color: white; font-family: "calibri";">The object in football is to march
downfield and penetrate enemy territory, and get <o:p></o:p></span></i></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="background-color: white; font-family: "calibri";"><span style="color: #6fa8dc;">into
the end zone; in baseball, the object is to go home! "I'm going
home!"<span class="apple-converted-space"> </span></span></span></i><span class="apple-converted-space"><span style="background: white; color: black; font-family: "calibri";"><o:p></o:p></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMZegUpcUO2v1k0_M1NdYXloeyJsm-0csrfEtzYnJvABMJ5woV4M39afp2CUxRy5NBpUen9LNMUuoyb-sWPKk6ECMjJgQ1txObV2q-fH8XzC3haqLuu5D94g1z0EriHZ8Hj9jKYWXX7Shi/s1600/61299_1800s_baseball.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1558" data-original-width="1600" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMZegUpcUO2v1k0_M1NdYXloeyJsm-0csrfEtzYnJvABMJ5woV4M39afp2CUxRy5NBpUen9LNMUuoyb-sWPKk6ECMjJgQ1txObV2q-fH8XzC3haqLuu5D94g1z0EriHZ8Hj9jKYWXX7Shi/s320/61299_1800s_baseball.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A 19th-century baseball at the end of a game</td></tr>
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<span class="apple-converted-space"><span style="background-color: white; font-family: "calibri";"><span style="color: orange;">It’s
not that the game isn’t sometimes weird, crazy, or that its past wasn’t
violent. If you want to read a good
account of what it was like in its 19<sup>th</sup> century infancy, take a
taste of Robert Achorn’s terrific book, <i>The
Summer of Beer and Whiskey</i>, which chronicles baseball mainly in St. Louis
and Cincinnati in a big rivalry in 1883.
Those were the days when pitchers pitched whole games—maybe forty or
more in a season, sometimes day after day, when one ball would last a whole
game, and spectators would actually line the outfield and the ballpark roof to
watch.<o:p></o:p></span></span></span></div>
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<span class="apple-converted-space"><span style="background-color: white; font-family: "calibri";"><span style="color: orange;">I’m
old, but not <i>that</i> old. Still, I was a Brooklyn Dodgers fan as a
little girl, and actually saw Jackie Robinson, Peewee Reese, Roy Campanella et.
al in Ebbets Field; and later, until most of my <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRbKjb7TJichi2jjjy_1i7Wm7u-t8jN9-hqKihQHyxk3-yUH0zDsOD93ZU4gYvmYc_NEx_Jyv3R2lFl7hbwnEz9kZ77V9qzTQImFXSZtrKhVgEBuEJR4TvPRlSgKNmnAEvUdfoEVpKSs8U/s1600/Robinson_Reese_w0rs4suh_y0u9iif5.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="538" data-original-width="950" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRbKjb7TJichi2jjjy_1i7Wm7u-t8jN9-hqKihQHyxk3-yUH0zDsOD93ZU4gYvmYc_NEx_Jyv3R2lFl7hbwnEz9kZ77V9qzTQImFXSZtrKhVgEBuEJR4TvPRlSgKNmnAEvUdfoEVpKSs8U/s320/Robinson_Reese_w0rs4suh_y0u9iif5.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jackie Robinson and Pee Wee Reese</td></tr>
</tbody></table>
New York family died off, a
Mets fan </span></span><span style="background-color: white; font-family: "calibri";"><span style="color: orange;">through good and bad. Here in
San Antonio I hold a quarter-season subscription for the Missions, our AA team.<o:p></o:p></span></span></span></div>
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<br /></div>
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<span class="apple-converted-space"><span style="background-color: white; font-family: "calibri";"><span style="color: orange;">To
watch AA baseball, you really have to love the game: not only do good players
leave for AAA or even Major League ball early in the season, but over the
years, even the sponsoring teams have changed: in San Antonio, from L.A. to
Seattle to San Diego. In a way, at this
level, you don’t root for the team so much as for the game itself, and (maybe) our
mascot, Henry–The-Puffy-Taco. The park
is pretty small too, and so watching minor league ball lacks the real thrill
factor of watching the Rangers or the Astros.
Sometimes, college teams play better. On the other hand, it’s a sort of
compromise transition between amateur ball and the Show, and so it retains a
lot of the old Field of Dreams character.</span><o:p></o:p></span></span></div>
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<span class="apple-converted-space"><span style="background: white; color: black; font-family: "calibri";"><o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7EW38U4rBpPEbdQXgPiTRN77n9EqaKUhVGnupZe0oEGQ4MoAp8AUwnjHO9vTaJGSoCDUYvncu8wCW_rCX9zqKwca_ijzf2CuQ4cJFLi2vrE-iNuROWLr8Uv6RX2kBSZG-TzGVdX5nLEm/s1600/2017_All_Stars_tkxjxdbh_jiu78sqw.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="480" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7EW38U4rBpPEbdQXgPiTRN77n9EqaKUhVGnupZe0oEGQ4MoAp8AUwnjHO9vTaJGSoCDUYvncu8wCW_rCX9zqKwca_ijzf2CuQ4cJFLi2vrE-iNuROWLr8Uv6RX2kBSZG-TzGVdX5nLEm/s320/2017_All_Stars_tkxjxdbh_jiu78sqw.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Several contemporary S.A. Missions</td></tr>
</tbody></table>
</o:p></span></span></div>
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<span class="apple-converted-space"><span style="background-color: white; font-family: "calibri";"><span style="color: orange;">I
think my feeling of outrage about the Congressional ball team’s tragedy stems
from Baseball’s origin and popularity as America’s Pastime-mythological heroes
rather than the high-tech, speed-gun, instant replay and billionaire big league
players of the Majors now. Even with all
of this, Mythical Baseball is still the nostalgic ideal out there as something
that Americans play (and that includes Latin America too), and to attack it is
cowardly and very <i>UnAmerican</i>! The Republicans and Democrats will play their
game today, all wearing the same LSU uniform in memory of one of the men
wounded yesterday. Maybe it’s the memory of this myth that will start the partisan
healing process. Maybe it’s the memory and
example of baseball that will Make America Great Again!<o:p></o:p></span></span></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
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<!--StartFragment--></span><span style="font-size: 12pt;"><span style="color: orange;">George Carlin’s monologue
on Baseball vs. Football can be watched at</span><span style="color: #231f20;">:</span><a href="https://www.youtube.com/watch?v=IhN1ExFCXNA" style="color: #231f20;" target="_blank">https://www.youtube.com/watch?v=IhN1ExFCXNA</a></span></span></div>
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<!--StartFragment--><span style="font-size: 12pt;"><span style="color: orange;">James Earl Jones’s <i>Field of Dreams</i> monologue can be watched
at</span><span style="color: #231f20;">:</span><a href="https://www.youtube.com/watch?v=7SB16il97yw" style="color: #231f20;" target="_blank">https://www.youtube.com/watch?v=7SB16il97yw</a></span><span style="color: #231f20;"> </span></span></div>
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<span style="background: #f6f6f6; color: #231f20; font-family: "arial";"><span style="background-position: initial initial; background-repeat: initial initial; font-size: 12pt;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="background: #f6f6f6; color: #231f20; font-family: "arial";"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="background: #f6f6f6; color: #231f20; font-family: "arial";"><br /></span></div>
Judith B. Sobréhttp://www.blogger.com/profile/15598419136990761845noreply@blogger.com1