tag:blogger.com,1999:blog-16919106213338148512024-03-14T10:23:22.285+00:00Daniel Meyer-DinkgräfeDaniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.comBlogger25125tag:blogger.com,1999:blog-1691910621333814851.post-87080605552288877442018-06-20T07:21:00.002+01:002018-06-20T14:21:01.129+01:00Children in Cages for "Protection" in the USA<!--[if gte mso 9]><xml>
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<span style="font-family: "times new roman" , serif;">I have
never been active politically in any direct sense, neither have I published my
thoughts on political matters before this. However, the current debate
surrounding an unspecified number of children kept in cages and other problematic
environments, separated from their parents, by the country that I learnt at
school is the beacon of liberty and freedom, the USA, and the nature of the
debate around these political decisions at the highest level of USA politics,
the words used by those politicians in charge, lead me to speak out.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif;">It is
essential that the caging of children is stopped as soon as possible. Nothing
whatsoever, categorically, justifies that kind of treatment of young,
vulnerable human beings. Illegal immigration is a problem but putting children
into cages cannot be (part of) the solution. </span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "times new roman" , serif;">However,
those in charge of the decisions seem not to consider those children as human.
They talk about illegal immigrants infesting the country. Infestation is a term
referring to vermin. Vermin are not human. Thus, the creatures that infest the
country, those illegal immigrants, are not human. The children in question are
the children of those immigrants, and they are therefore also not human, by
implication. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , serif;">The Nazis
considered Jews as sub-human, as non-human, as vermin. They exterminated as
much vermin as they could, very efficiently. This started on a small scale and
grew to unimaginable proportions. It may have started with comparatively few
people in cages. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "times new roman" , serif;">The US
attorney general commented on the parallel with Nazi Germany, raised by a fellow
American, a former CIA director, “In Nazi Germany, they were keeping the Jews
from leaving the country”. If that was the only comment by the attorney
general, then he is in fact admitting that the parallel raised by the former
CIA director is substantial, because the difference the attorney general points
out is irrelevant in the context, and many Jews did not get out of Germany because
other countries did not want them either and actively closed their borders to
them. </span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
The Nazis had showcase
concentration camps, in which they showed the world how well the Jews were treated
in those camps. In relation to the illegal immigrant children in USA cages, the
attorney general and other speakers for the administration insist that children
separated from their parents are being treated well, and not abused. What??? A
child, separated from his/her parents, in a cage is a sign of that child being
well treated? Keeping a child, separated from his/her parents, in a cage is not
abuse? Keeping a child, separated from his/her parents, in a cage is not
torture? Why do I even have to spell this out? How can any human being doubt
that keeping a child, separated from his/her parents, in a cage is not pleasant
for a child and that this constitutes abuse and torture? How can any human
being stand in front of others and seek to justify such abuse and torture? Some
even say that the children are in those facilities, and that means in those
cages, to protect them... </div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
The video that is going viral,
showing those children’s suffering and their pain, also has soundtrack of
officials working at those facilities, whom the authorities assure us are well
trained in taking care of children’s needs, making fun of the sounds of the children
crying. They do not come across as competent, trained or caring, but as nasty
and inhumane. Their attitude, which comes out in what they say and the way they say it, is reminiscent of what we know about the attitude of Nazi concentration camp guards. </div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
Spokespeople of those in power say
that all is done in compliance with the law, the law as decided by Congress, the
law which officials have sworn to abide by. Is there a law that says that children of illegal immigrants, or children who cross the border illegally on their own, must be kept in cages? When confronted with their crimes,
Nazis often excused themselves that they had only followed orders.</div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
With hindsight, many people have
asked how the Holocaust was possible. The answer is: among other things because nobody
bothered to really do anything against it, either in Germany or outside. I have
only hinted, above, at some parallels, very vaguely, very gently, to the
developments in 21<sup>st</sup> century, 2018 USA. Let us hope that history
does not repeat itself to the extent that hundreds become thousands, become
tens of thousands, and so on, and that facilities are being developed where the
current update of Zyklon B is administered to exterminate contemporary vermin. </div>
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<br /></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-76915348679560482632018-06-18T16:24:00.000+01:002018-06-18T16:27:28.602+01:00The development of Klaus Florian Vogt's voice and singing<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<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" 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"
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<div style="text-align: justify;">
<span style="color: blue; font-family: "palatino linotype" , serif; font-size: 14.0pt;">I became aware of Klaus Florian Vogt at some point in the late
2000s, certainly after his career-defining performance as Lohengrin in
Baden-Baden, Germany which was recorded and produced for DVD</span></div>
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0xXMXnkYC3_iLNcan9MLMbCeZmQBc9u5WxPm-1DBPc8nQWhyD9ayWlYQH3hINu5jcxDFWySHYegoBeKvzVkpxPyEpU9wfmhEpCUQ73BLx_El3rbMCB5fSnMdLoImTkbkz13mg6ZW1-O03/s1600/LoBaba.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="706" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0xXMXnkYC3_iLNcan9MLMbCeZmQBc9u5WxPm-1DBPc8nQWhyD9ayWlYQH3hINu5jcxDFWySHYegoBeKvzVkpxPyEpU9wfmhEpCUQ73BLx_El3rbMCB5fSnMdLoImTkbkz13mg6ZW1-O03/s400/LoBaba.jpg" width="282" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.cdjapan.co.jp/product/COBO-6066" target="_blank">DVD cover, Lohengrin 2006, Baden-Baden</a></td></tr>
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<div style="text-align: justify;">
<span style="color: blue; font-family: "palatino linotype" , serif; font-size: 14.0pt;">In 2009 I saw him
in a recital in honour of German Wagnerian conductor Hans Wallat, in 2010 as
Parsifal in Geneva, followed by a recital with Orchestra in Hamburg in March
2011, then the recital at the Deutsche Oper Berlin in early July 2011,
conducted by Peter Schneider, which formed the basis of Vogt's first CD, <i style="mso-bidi-font-style: normal;">Helden</i>. This was followed by a
production of <i><span style="font-family: "palatino linotype" , serif;">Die
Walküre </span></i>with Vogt as Siegmund in Barcelona in 2014, and in the same
year his recital with the Birmingham City Symphony Orchestra conducted by
Andris Nelsons, with excerpts of <i>Lohengrin</i> and <i>Parsifal</i>. In 2016 <i>Lohengrin</i> in
Düsseldorf, and 2018 <i>Lohengrin</i> in London.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhskmA0DRO-R_EuQ7_ejbKH1bGuat3fOGTPqchtk0UmnQ8GA2fs8rTsPnB2iXT2szYwQcUJUQfjkbkQmkcnK1CO0U1HFrxwqNglwSaRRKn60aCZ96hoSlQ9YvQG0cas9gC-DFrRnbHtCEna/s1600/lolo2018.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="534" data-original-width="800" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhskmA0DRO-R_EuQ7_ejbKH1bGuat3fOGTPqchtk0UmnQ8GA2fs8rTsPnB2iXT2szYwQcUJUQfjkbkQmkcnK1CO0U1HFrxwqNglwSaRRKn60aCZ96hoSlQ9YvQG0cas9gC-DFrRnbHtCEna/s400/lolo2018.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.markronan.com/2018/06/lohengrin-royal-opera-roh-covent-garden-june-2018/" target="_blank">Covent Garden Production of Lohengrin, 2018</a></td></tr>
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<br />
<div style="text-align: justify;">
<span style="color: blue; font-family: "palatino linotype" , serif; font-size: 14.0pt;">It is interesting to have been able, over the years, to observe the
development of this exceptional singer's exceptional voice. It is a development
of craft, skill, and artistry, in relation to the natural development of the
instrument of the voice. Vogt combines gift, talent, hard work and care and
caution in the expansion of his repertory of roles. When Vogt sang his early
Lohengrin, that was the only way he could sing it, given the nature of his
voice as it was then. The voice has changed. It has become stronger, more
rounded, richer, particularly in the lower register. It is
this development which enabled Vogt to add Siegmund to his repertory inrecital in 2011, and in a full production in 2012, and Tannhäuser in 2017. Moreover, it has allowed him, over the years, to
refine the way he uses his voice. The sounds of Lohengrin, in the first few
years of his singing this role, came to a large extent spontaneously and could
not have come in any different way. He has allowed his voice to develop in line
with its own needs and scope. At the current stage in his career, he is therefore
able to consciously shape and mould each sound as he produces it precisely as
he wishes, while at the same time making the result of his intention appear
natural and spontaneous. Vogt's rendering of Lohengrin's grail narration, "In fernem Land", towards the end of the opera, from productions over the years, supports my impression. </span></div>
<br />
<span style="color: blue; font-family: "palatino linotype" , serif; font-size: 14.0pt;"><a href="https://www.youtube.com/watch?v=WKHB0W1MpyA" target="_blank">Baden-Baden, 2006</a> </span><br />
<br />
<span style="color: blue; font-family: "palatino linotype" , serif; font-size: 14.0pt;"><a href="https://www.youtube.com/watch?v=7TuJjsnhtBc" target="_blank">Berlin, 2011 (conducted by Peter Schneider)</a> </span><br />
<br />
<a href="https://www.youtube.com/watch?v=KEnzpdrQ6fM" target="_blank"><span style="color: blue; font-family: "palatino linotype" , serif; font-size: 14.0pt;">Vienna, September 2016 (starts at 3:21:42)</span></a><br />
<br />
<div style="text-align: justify;">
<span style="color: blue; font-family: "palatino linotype" , serif; font-size: 14.0pt;"><span style="color: blue; font-family: "palatino linotype" , serif; font-size: 14.0pt;">By now, 2018, after the exposure to singing Tannhäuser in 2017, Vogt's ability of consciously shaping the singing of Lohengrin has increased further, as has the art of making it sound spontaneous.</span></span></div>
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Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-18643588709752142652018-06-18T10:54:00.000+01:002018-06-18T10:54:35.324+01:00Opera, ethics and dignity
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="color: blue; font-size: 14.0pt;">There are messages on the London Underground, in railway guidelines
or even brochures of the Royal Opera indicating that they have a “no tolerance
policy” when it comes to abuse by members of the public of other users of their
services or of their staff. It is sad that we are living in times where such
guidelines are needed, but it is essential that we realise that they are
needed, and that we act accordingly and provide guidelines which are
enforceable by law. I wonder whether it has ever occurred to the performing
arts industry whether such guidelines are necessary for performers in
terms of what they are expected to do on stage. I have written about this before
<a href="https://brill.com/view/title/28210" target="_blank">(2013, 101-112)</a> raising the following questions:</span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="color: blue; font-family: Symbol; font-size: 14.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="color: blue; font-family: "Times New Roman",serif; font-size: 14.0pt;">Are those who object to some expressions of theatre simply narrow-minded,
or conservative to the extent of rejecting innovation?</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="color: blue; font-family: Symbol; font-size: 14.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="color: blue; font-family: "Times New Roman",serif; font-size: 14.0pt;">Is it all just a matter of taste, and therefore relative,
subjective, personal, and therefore ultimately not relevant for or interesting
to public / critical / academic debates? </span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="color: blue; font-family: Symbol; font-size: 14.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="color: blue; font-family: "Times New Roman",serif; font-size: 14.0pt;">Are there, should there be limits beyond which theatre should not
go—regarding the extent to which the dramatist or director may demand behaviour
from the actors that in many contexts other than theatre would be considered
highly problematic, morally suspect, possibly with legal implications? </span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="color: blue; font-family: Symbol; font-size: 14.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="color: blue; font-family: "Times New Roman",serif; font-size: 14.0pt;">Could there be any circumstance in which such activity, both gross
and subtle is acceptable? </span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="color: blue; font-family: Symbol; font-size: 14.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="color: blue; font-family: "Times New Roman",serif; font-size: 14.0pt;">Is its unacceptability subject to debate? </span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="color: blue; font-family: Symbol; font-size: 14.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="color: blue; font-family: "Times New Roman",serif; font-size: 14.0pt;">What are the criteria a serious critical discussion needs to
establish and then adhere to? </span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="color: blue; font-family: Symbol; font-size: 14.0pt; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><span style="color: blue; font-family: "Times New Roman",serif; font-size: 14.0pt;">To what extent can the canon of ethical writing provide the
context?</span><span style="color: blue; font-size: 14.0pt;"></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="color: blue; font-size: 14.0pt;">The examples from my own theatre experience and from reading reviews
focused on quite openly controversial issues, such as defecating or urinating
on stage, real or faked, smearing themselves with real or stage blood, or any
other bodily fluid, for that matter, and killing live animals, for real, on
stage? Today I want to address things that performers (in my examples, opera
singers) are expected to do that are much less crass and gross than the
examples above. They need addressing nevertheless because of their potential
adverse impact on performers and because they represent instances where the
purpose and nature of art are fundamentally misunderstood.</span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="color: blue; font-size: 14.0pt;">At a recent production of <i style="mso-bidi-font-style: normal;">Siegfried</i>
by Wagner at the Deutsche Oper am Rhein, Düsseldorf<i style="mso-bidi-font-style: normal;">, </i>the tenor had to eat real food on stage during the
performance--how can this not have an adverse impact on his singing? It was
embarrassing to see the overweight mezzo soprano singing Erda in the same production having
to lie down on a sofa that was way too small for her size, and later sit up
on the sofa, only to be covered by a heavy large piece of cloth for some 45
minutes. Who would doubt that the first experience is humiliating for the
soprano, and the second one somewhere on the scale between somewhat to very
uncomfortable. Yes, the tenor can still sing, the mezzo soprano can still sing;
in comparison, these examples may come across as relatively harmless, and they
may be. However, what does it do to the singer’s career if the review mentions her
ability to endure under the blanket rather than her vocal qualities? How does
the humiliation impact on the soprano’s well-being, both subjectively (i.e.,
she felt humiliated and noticed it) and objectively (she is a rationaliser, in psychological terms,
feels not affected by it, but empirical research could show physiological
reactions that she is not aware of, and which correlate to the humiliating
stimulus)? What if the tenor cannot do full justice to one of the most
difficult roles in the opera literature because he had to eat during the
performance, and does not get invited to the next higher level of the opera
hierarchy by the artistic director who saw him in a performance marred by him
having had to eat? </span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="color: blue; font-size: 14.0pt;">In artistic terms, should not part of the director's role include
demonstrating at least the amount or the extent of insight it requires not to
threaten, by the directorial decisions and choices, the sound quality the
singer is able to produce? If we, as non-singers, recreate for ourselves some
of the physical positions we see singers in on stage, we have difficulty
breathing and speaking. Some training that the singer has, and we don’t have, may
compensate for the effect such positions have on the professionals in comparison to laypeople. Singers may also
develop their own survival strategies. But some adverse effect is sure to remain;
assuming it is not sheer nastiness on the part of directors to choreograph a problematic
physical position for their singers, is can only be ignorance, and directors
should take it upon themselves to be knowledgeable about how a singer’s body works
in relation to singing. <span class="5yl5">Even an experienced and highly renowned
singer such as Klaus Florian Vogt cannot produce the best of his sound in his
signature role of Lohengrin in Act I Scene 3 in the phrase "Durch Gottes
Sieg" on the high note of "Gottes" if he has to freeze, after
the fight, before that line, in the physical position where he hovers above
Telramund, right foot forward, left foot behind, and has to lift the huge and
heavy metal sword in such a way that his left arm is highest and carrying most
of the weight--i.e., in counter-balance to the position of the feet. Vogt had
difficulty with the "Gottes" with that choreography at the current London production directed by David Alden, although he was brilliant at covering
up that difficulty and many will not have noticed. But he was forced to sing
less well than he can, and to cover a difficulty. </span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="color: blue; font-size: 14.0pt;">Should not the director be in charge of a production that is both
telling a gripping story to the audience and allowing the singers to use their
bodies, to hold their bodies, in the positions that are best for them to
produce the best sound with their voices? I would even argue that achieving
such a combination of gripping storytelling together with an insight into the
singer’s craft is much more challenging for any director than simply forcing
their singers into physical positions, and movements that they have to work
against while on stage, rather than being supported by them in their singing.</span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="color: blue; font-size: 14.0pt;">In addition to supporting or hindering the singers' singing,
directors have a further major role in dealing with their singers'
physicalities. It is still the case, for whatever reason, that many singers
are, in medical terms, overweight. No extent or degree of political correctness,
which might require us not to mention this, can hide this fact. It is equally
fact, and even more contentious that people relate weight and beauty. Is it for
what could be considered one of the most conservative and conventional art
forms, opera, to serve as an educational tool for changing people's attitudes?
Possibly. However, if that is one of the aims of opera, for some directors, how
is it best achieved? By doing almost everything possible, or at least a lot, to
show, parade and expose the excessive weight of the singer? Does the audience
get a better image of obesity when the near-immobile tenor is asked to engage
in movements that an agile performer might find challenging, but which cannot
fail to make the overweight tenor look ridiculous? Is there any point,
whatsoever, really, in having the overweight soprano, particularly an older
one, in a costume that is sleeveless? Do we need to encounter the sight of the
flabby, wobbly excessive fat on her upper arms and armpits? Is the revelation
supposed to make her look beautiful? To challenge our idea of beauty? Of
course, the director may want to show that a character looks ugly and uses the
singer’s physical givens as a starting point, showcasing them intentionally. Such
an intention on the director’s part, however, is rather an egoistic insult on
the part of the director, or design team, to us, but especially to the soprano
in question. It is also an example of poor story-telling because the intended outward
ugliness clashes, in most instances of the operatic canon, with the beauty of
the music (unless the playing of that music is equally distorted by the conductor
and orchestra). In most opera, ugliness or evil and the like are hinted at,
implied, or expressed and carried in contexts and through means that are in
themselves explicitly beautiful. Not surprisingly, revelations of a singer’s
obesity tend to occur predominantly in productions that have problems with
their storytelling to start with, and usually throughout. A brief look at the
fashion industry will not fail to demonstrate that there are plenty of ways of
showing and foregrounding that an overweight person, no matter whether male or
female, can look beautiful in line with current norms. That is a major shift of
insight, well worth for opera to be focusing on. </span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="color: blue; font-size: 14.0pt;">Great opera merges vivid, cogent story-telling, which can be
conservative or innovative in approach, with a splendid interpretation of the music
by the conductor and the singers. Within that framework, opera can afford to
take the demands of the singer’s voice in relation to their body into account
and can afford not to threaten the best possible voice production for each
singer. Opera can take up the challenge of all great art, of presenting its plots
and its characters in a way that is beautiful even if the circumstances at the
centre of the plot, or the traits of the characters, are all but beautiful. That
is the potential of art; realising that potential and doing it justice is the
challenge to all artists. Realising and safeguarding the performer’s dignity is
an essential part of that.</span></div>
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<![endif]-->Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-76980350062047981492017-11-30T10:48:00.000+00:002017-11-30T10:48:11.373+00:00Ethical considerations of casting children in plays with “adult themes”<!--[if gte mso 9]><xml>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">A good
number of plays, past and present, or television drama or films, for that
matter, have characters who are not adults. The term <i>adult</i> is defined, in this context, as a person who has reached the
legal age of majority, which for many countries across the world is eighteen
onwards. The question that arises for the team of any production of such a play
is whether to cast the characters of children and adolescents/teenagers with
actors of an age similar to that of the characters, or with (young-looking)
adults. For the 1974 National Theatre production of <i>Spring Awakening</i> by Frank Wedekind, for example, the adolescents
were played by young adults (with Michael Kitchen aged 26, Jenny Agutter aged
22, and Peter Firth aged 21). Ethical issues arise with child actors in terms
of the potentially damaging implications of stardom. In this article, however,
I focus on the issues arising from the impact that the subject matter may have
on the child actor. I summarise the important work Ott has done on this topic
in her MA thesis in 2009 at the University of Oregon, USA, expand this with
more recent examples, and develop an additional perspective from the context of
consciousness studies to broaden the base for further discussion and research,
for parents to make informed decisions about the lives of their children, and
to inform policies of good practice in the entertainment industry. </span></span></span></div>
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<br /></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Ott
considers four case studies of “plays with adult themes”: <i>The Pain and the Itch </i>by Bruce Norris, in which the character of
four-year-old Kayla is present when her parents have “intense, obscenity-laced
screaming matches”, and on one occasion she enters with one hand inside her
pull-ups, which the audience interprets correctly as indicating that her
genitals are inflamed and itchy from a sexually transmitted disease, presumably
from her uncle (Ott 2009: 1, 28). With regard to a production of <i>The Trojan Women</i> by Euripides, Ott
discusses social violence, loss and grief as potentially problematic contents,
moving to physical abuse and torture in Martin McDonaugh’s <i>The Pillowman</i>, and ends with the topic of child suicide in
Pirandello’s <i>Six Characters in Search of
an Author</i> in the version by Headlong / Rupert Goold and Ben Power (2008). The
age range of the child actors in those productions was five to fourteen. Only
the young girl in <i>Six Characters</i> was
played by a young-looking adult actor, probably because of the dangers involved
for a younger person in carrying off the drowning in a fish tank special effect
for her suicide scene.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Ott discusses a range of positions
and options. Rating systems, similar to those for cinema and TV audiences,
might help, but it is also problematic to justify setting a specific age limit
before a child actor can safely engage with specific adult material, because
children develop at different rates within a spectrum of development. Parents
have the legal and ethical role of protecting and guiding their children, and
“Involving a child in a positive way rather than using them for their naïve services
is the ethical option” (Ott 2009: 18). In terms of artistic merits, involving
child actors on stage in the context of adult themes may have a shock effect on
the audience and thus allow an audience to become engaged in a new way.
However, Ott also warns: “On the other hand, some productions use the child on
stage as a token shock element: manipulating the audience into an unearned,
strong emotional response. This decision deserves pause” (2009: 22). </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">In the context of her case studies,
Ott identifies in official statements on websites and in letters to the editor
supported by her own interviews, the ways in which company representatives and
parents deal with the challenges of casting children in plays with adult material.
In one company, the children were under constant supervision during rehearsals
and performances. One parent noted that her child did not understand the
meaning of some of the words used on stage, and was happy with that as
sufficient to ensure the child would not be harmed by such language, even if
exposed to it on a daily basis over the rehearsal period and the production’s
run in the theatre. When pornography was playing on the on-stage TV set, cast
and director ensured the children’s backs were turned. The mother of one of the
girls performing in <i>The Pain and the Itch</i>,
said: “although she does not currently consider her daughter a victim to the
play and its material "I would call her a casualty if we had said no and deprived
her of the opportunity of a lifetime because we were more interested in
insulating our world from what others might think than putting her interests
first" (Ott 2009: 34). </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Where the company does not provide
reassurance of some kind to audiences that they did take care of the child
actors, problems can arise. For example, Ott left the theatre after the
performance of the Goold / Power production of <i>Six Characters </i>“with many questions and concerns wishing that there
had been a talk-back with the cast and crew to attend. More communication with
the audience would have benefited this production that I experienced” (2009:
61). Another problem is that in some instances, according to Ott, the casting
of a child actor for a child character without thorough prior reassurances of
the audience is actually not helping the cause of the play. She quotes the
critic of the <i>Chicago Tribune</i> in the
review of <i>The Pain and the Itch</i><span>
that “instead of drawing the audience in, </span>the child actor in
Steppenwolfs production of ‘pulled audiences out of the world of the play
because of the concerns her presence raised’ (Ott 2009: 33, quoting Istel 2005:
115). She also points out that some authors do not provide instructions as to
the age of the actors playing the child characters (such as McDonaugh for <i>The Pillowman</i> (2009: 49). In contrast,
Jennifer Healey adds an author’s note to her play <i>The Nether</i> (2014): </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">It is important to cast
Iris with an actress who will appear on stage as a prepubescent girl. The child
actor takes the audience <i>out</i> of the
play (Bert States, <i>Great Reckonings in
Little Rooms: On the Phenomenology of Theate</i>, Oakland: University of
California Press, 1987), which is desirable considering the contents of her
scenes. The audience is assured nothing awful will be enacted upon the child,
whereas they have no such confidence with an adult posing as a child. A young
actress also adds warmth, which is critical to the chemistry of the play.
(2014)</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">To provide
the context for this, The <i>Nether</i> of
the title is the former Internet, which has taken over much of the world, to
the extent that some people choose to cross over and continue living there
permanently. Morris is a young female detective working to maintain law and
order in the Nether; she is investigating business man Sims, who has developed
an area of the Nether in which “in-world” people can take on alternative
identities and engage in activities considered immoral and criminal in
conventional current and future ethical and legal contexts. Sims brings his
customers, in their alternative identities, together with Iris, herself an
avatar creature of the Nether, a child, with whom the customers then can have
sex, and then they can kill her with an axe. Iris appears on stage, as does
Sims in his avatar identity Papa, and one of Papa/Sims’s customers, Woodnut,
who turns out to be an agent working for Morris and her force. Iris turns out
to be the avatar of Doyle, a middle-aged male science teacher, whom Morris also
interrogates. In his review for the <i>Telegraph</i>,
Spencer insists that “you never worry that the young girl playing the beautiful
Iris in the nether world will be traumatised by the play she is appearing in.” </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Spencer
did voice concern about the well-being of the 13-year old actor playing the
“original party piece” in Philip Ridley’s <i>Mercury
Fur</i> (2005). The play is set in London in a dystopian future characterised
by violence and a breakdown of law and order to the extent that the government
decides to have the army systematically eliminate the population of entire
areas. The play focuses on two male teenagers, Darren and Elliott (17 and 15
respectively), who work for a slightly older man, helping him organise parties
in derelict houses with a “party piece” as central attraction for the client,
the party guest. In this case the party piece is a 10-year old Asian boy who
will help the guest fulfil his Vietnam-war inspired fantasies, which Darren and
Elliott will film for him on a camcorder—thus creating a real-life snuff movie.
The party-piece is sickly and frail, and dies before the guest can begin the
torture—he is replaced by the older boy who found shelter in the derelict house
and has joined Darren and Elliott in preparing for the party. The sexual
dimension of the torture and murder of the original party piece and its
eventual replacement is evident in the text. All violence happens off-stage,
the audience hears screams, but does not see any violent act being carried out,
only the result when the stand-in party piece returns to stage from the torture
in its first stages. </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">It may not be as much of an ethical
issue, some of Ott’s arguments seem to imply, if the characters and actors are
older, closer to the age of majority, as, for example, in <i>Scarborough</i> by Fiona Evans (Royal Court, London, 2008). In the
first half of this play, we see 15-year-old Daz with his 29-year-old teacher
Lauren in a Scarborough bed and breakfast, while in the second part of the
play, the characters in the same room, and with virtually the same lines, are
15-year-old Beth and her 29-year-old teacher Aiden. Lauren and Aiden reveal to
Daz and Beth, respectively, that they want to end their relationship, which
they had engaged in only to have some fun, and because they are in a long-term
relationship, with Chris. Chris, now 47, was Lauren’s male swimming coach who
seduced her when she was thirteen. Chris, now 47, was Aiden’s female swimming
coach who seduced him when he was thirteen years old. Aiden is about to marry
Chris, and Lauren is about to marry Chris. Thus the play invokes the
victim-abuser cycle characteristic of paedophilia, the suggestion that often a
person abused as a child becomes an abuser later in life. <i>Scarborough </i>also suggests that the adults have more power (in this
case to break off the relationship), and the child is always the one to suffer
most (Billington 2008). </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">To address the issues she raises,
Ott proposes a set of guidelines covering parental involvement, company and
cast involvement, supervision, aspects of the rehearsal process, communicating
with the community, prospective and actual audiences, as exit interview and
evaluation. All these guidelines work on the basis of what the child actor
perceives through their senses of the potentially problematic contents of the
play, the extent they understand the contents correctly, and how they are
supported in dealing with the contents if they do understand it. This
perceptual framework does not, however, take into account possible less tangible,
but nevertheless equally important, aspects. </span></span></span></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAl5Ic6FPpjJKtver2sA7ksGRhgoo0wli3VhmCg3pWPfAP1-h0ghlmGzMlE-2Si5NbZEh9Dddk1IU1n0uiz3EW99vr-5oQDDxkXmb-l8vLHwYzJR2gLC2PIVBegBY4hLZhQn3IVfPB5LVn/s1600/cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1072" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAl5Ic6FPpjJKtver2sA7ksGRhgoo0wli3VhmCg3pWPfAP1-h0ghlmGzMlE-2Si5NbZEh9Dddk1IU1n0uiz3EW99vr-5oQDDxkXmb-l8vLHwYzJR2gLC2PIVBegBY4hLZhQn3IVfPB5LVn/s200/cover.jpg" width="133" /></a></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">In
my 2013 book <i>Observing Theatre:
Spirituality and Subjectivity in the Performing Arts</i>, I introduced the
philosophy of German geobiologist Hans Binder as the basis for discussions of
aspects of theatre as varied as <i>nostalgia</i>
in theatre, intuitive collaboration, praise of acting in theatre criticism,
practice as research, digital performance, theatre and philosophy, the canon,
applied theatre and aspects of acting including helping actors cope with stage
fright. For the remainder of this article, I will apply his thinking to the
ethical implications of having children perform in contexts of adult themes in
theatre, film and television. </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Binder
explains his background and the development of his abilities in the following
way. Even as a child, he had a special relationship with nature because, when
he was one with nature, he was able to perceive the aura of many trees and
plants as well as being allowed to hear the fundamental oscillation of the
universe, the OM sound of nature. This should, however, gain greater
significance only in the second half of his life. He learnt the crafts of
reinforced concrete construction and horticulture, and was very successful in
these areas for decades. In horticulture, he had a major business, which he
gave up when his skills to investigate fault zones in houses, and to provide
analyses of persons were in such demand that he was able to dedicate himself to
them alone. In earlier times he used to dig deep into the gardens of the
people, today he can do that in their subconscious minds to help them with the
design of their lives. Until all was ready, he was able to learn a lot through
training and studies. To this day, he continues researching and experimenting
on his own in the field of consciousness studies. He has supplemented his
natural talents with the study of the Veda, of Vastu, dowsing, and geomancy, and
has acquired knowledge of all the materials and radiations, as well as the
anatomy of all human body parts, organs and all their features. This bundled
set of skills and all the knowledge he acquired are invested into all the
holistic analyses and in development and manufacture of products.</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">The
entire universe, according to Binder, can be understood as an energy field that
integrates smaller units also as energy fields and interacts with the parent
field, and other fields, since they are in turn connected to each other via the
"everything that is" principle. Each planet has therefore its own
energy field and is connected via the "unified field of natural law"
again with the great whole. On Earth, there are then earth energy fields at each
level of manifestation, for all plants and each plant, and for all animals and
for each animal, and for all people and every individual (2013: 105). Everything
that people have ever created and create, have manufactured and manufacture, in
what form and with what material whatsoever, and what people have ever thought
and think at this very moment, also represents energy fields, brought into
being by the respective activities of manufacturing, creating and thinking. All
levels of complex energy fields interact with each other and react to each
other, in the sense that like attracts like in turn (2013: 106).</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Each
theatre production has its own energy field, which is an amalgam of the energy
fields of the contents, the writer, the production team, and the performers.
When the production is shown on stage, the energy field of the production further
merges with the energy fields of the spectators at each performance. The same
applies for the creation and screening and broadcasting of radio, film and
television contents. The energy field of a theatre, film or television
production affects all people involved in the production, whether they know it
or not. It stands to reason that the production of a play “with adult themes”,
such as the ones discussed above, will develop an energy field that is informed
by those themes, and the ways in which the cast and crew think about the play,
its themes, and themselves in relation to the themes. From an objective angle,
the cast and crew’s thoughts may all be morally sound and ethically acceptable,
but this still means that while working on the production, a lot of thinking
about the contents is going on for both cast and crew, and the energy field of
the production reflects that thinking about that subject. No matter how
carefully a child actor’s parents and chaperones and wranglers and directors
and fellow-actors try to prevent any harm coming to the child actor because of
the adult material, and even if all the criteria developed by Ott are adhered
to, the energy field is still in existence. Potentially, this energy field will
have a stronger impact on the child actor than on the adults involved in the
production. This has to do with the way energy is conceptualised in this
context, and the ways in which it is absorbed, stored and used. </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">In
Sanskrit, the term <i>prana</i> is
translated as <i>absolute energy</i>, and
the Chinese call it <i>chi</i>. The human
energy system consists of:</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">1
the subtle energy body<br />
2 the <i>chakras</i><br />
3 the <i>nadis</i>, also known as energy
channels<br />
<br />
</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">The
<i>nadis</i> have the task of supplying the
energy bodies with life energy that was previously created in the <i>chakras</i>. In the human body there are a
few thousand energy channels. The most important ones are called <i>Ida</i>, <i>Pingala</i>
and <i>Sushumna</i>—we know them also from
acupuncture, where they are known to us as meridians.</span></span></span></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSINt_mWKV6ymVrm_zssGP4F-6tGxLtE9D1FUbW5LfwIuWWbpoh6YRmpHNbnwPFMj49hoiysKqS29N0i9w4sRwrYz1ZZcfaCoemwJpRUSXXoDp1jGQ23gi55O4Kf7ihqALpo-Mwx2HoSVD/s1600/chakRAS.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="313" data-original-width="491" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSINt_mWKV6ymVrm_zssGP4F-6tGxLtE9D1FUbW5LfwIuWWbpoh6YRmpHNbnwPFMj49hoiysKqS29N0i9w4sRwrYz1ZZcfaCoemwJpRUSXXoDp1jGQ23gi55O4Kf7ihqALpo-Mwx2HoSVD/s320/chakRAS.jpg" width="320" /></a></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Within
the human energy system, the <i>chakras</i>
serve as the receiving stations, transformers and distributors of the various
frequencies of <i>prana</i>. The <i>chakras</i> draw certain energies from the
subtle bodies as well as from the environment and especially from the universe,
transform those energies and, in turn, pass them on via the <i>nadis</i> back to the subtle bodies. Body,
soul and spirit need these energies for their preservation and development.
There are ancient writings that describe a number of over 80 000 <i>chakras</i> in the human body, with the
result that there is hardly a point in the human body that is not suitable and
intended for the reception, conversion and transmission of energies. However,
most of these <i>chakras</i> are very small
and play only a minor role in the energy system of the person. There are about
forty minor <i>chakras</i>, which are of
greater importance. The most important of these are located in the spleen area,
in the neck, the palms and the soles. The seven major <i>chakras</i> that lie along a vertical axis at the front centre of the
body are critical to the function of the most basic and most essential areas of
the human body, mind and soul.</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">The
<i>chakras</i> also take up vibrations
directly from the environment, vibrations that match their respective
frequencies. In this way they connect us through their various functions with
the events in our environment, in nature and in the universe, by serving as
aerials for the whole range of energy vibrations and information that go beyond
the physical realm. They are the openings that connect us with the unlimited
world of subtler energies. Similarly, the <i>chakras</i>
radiate energy directly into the environment, thus changing the atmosphere
around us. Through the <i>chakras</i> we can
send out healing vibrations and conscious or unconscious messages and thus
influence people, situations and even matter in a positive and negative sense (2013:
142-4).</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">The
seven main chakras relate closely to major bodily and mental human functions.
The root <i>chakra</i>, <i>muladhara</i> – <i>chakra</i> is
located between anus and genitals, connected to the tailbone, and opens
downwards. It is associated with the fiery-red colour, the element of earth,
and the sense of smell. It is symbolised by the four-petalled lotus, its
fundamental principle is physical will (as opposed to spiritual will of the
seventh chakra). In the body, it is associated with the spine, bones, teeth,
and nails, with anus, rectum, colon, prostate, blood and cell structure, as
well as the adrenal gland. In astrological terms, the root chakra is associated
with Mars / Aries, Taurus, Scorpio / Pluto, and Capricorn / Saturn. The root
chakra links us to the physical world and channels universal energy to the
level of physical energy. If it functions in harmony, it allows us to be
well-grounded, full of energy, stability, contentment, and inner strength. If
the root <i>chakra</i> is out of balance, it
can function in a disharmonious manner or in terms of sub-function. In the case
of dysfunction, thinking and action focus predominantly on material possession
and security, on sensual stimuli and indulgence. People thus afflicted will
have difficulties to give and receive openly and honestly. Their inability to
let go and their desire to hang on to things often lead to constipation and
obesity. In case of sub-function, people tend to be weak, with a lack of mental
and physical resilience. They have increased feelings of insecurity, of having
no proper grounding below their feet, and they perceive life as a burden. </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">The
second chakra is the sacral chakra (<i>svadhisthana</i>).
It is located above the genitals, linked to the sacral bone, and opens to the
front. Its colour is orange, it is associated with the element of water, the
sense of taste, and with the symbol of the six-petalled lotus. Its fundamental
principle is the creative procreation of being. The physical associations are
the area of the pelvis, organs of procreation, kidneys, bladder, and liquid
substances of the body. Associated glands are <span></span>ovaries,
prostate and testicles. The sacral chakra is the centre of original, unmediated
emotions, sexual energies and creative forces, and also the centre of the
feminine principle. Through the sacral chakra we are part of the fertilising
and receiving energies that permeate all of nature. If their sacral chakra is
in balance and harmony, people will feel they are flowing naturally with life,
and with their feelings. Disharmony of this chakra results in all kinds of
problems with sexuality, sub-function takes the form a lack of feeling of
self-worth, as well as emotional, mental and sexual callousness, depression,
aggression and blaming others. </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">The
third chakra is the solar plexus chakra (<i>manipura</i>),
which is located by the width of two fingers above the navel. It opens to the
front. Its colour is yellow to golden yellow, associated with the element of
fire, and is symbolised by the ten-petalled lotus. The solar plexus chakra is
associated with the lower back, the nervous system, the psyche, stomach,
digestive system, liver, gall and spleen. The related gland is the pancreas. In
the context of astrology, the solar plexus chakra is associated with Leo / Sun,
Sagittarius / Jupiter, Virgo / Mercury and Mars. Through the solar plexus
chakra, we absorb the energy of the sun and of the universe; we engage actively
through this chakra with other people and the world, and this chakra governs
our interpersonal relationships, preferences and antipathies. It is the seat of
personality. The solar plexus chakra purifies the energies generated in the
root and sacral chakras, channels and makes use of their creative energies
consciously, and manifests the energies generated by the fourth to seventh
chakras in the material world. On a physical level, the liver, governed by the
solar plexus chakra, has the task, in conjunction with the digestive system, to
analyse food, to separate useful and useless components, and to transform the
former and pass them on to appropriate places in the body. When this chakra
functions in harmony and balance, we feel inner harmony and peace with
ourselves, with life and our position within it. We can accept ourselves, our
feelings, desires and experiences in life fully and can respect the feelings
and idiosyncrasies of other people. Because this chakra is associated with the
element of fire, harmonious functioning of this chakra allows us to be full of
inner light and full of strength, enveloping our bodies with light, which
protects us from adverse influences and has a good influence on the
environment.</span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Disharmonious
functioning of the solar plexus chakra leads to the need for people to want to
influence everything according to their own wishes, and to control our inner
and outer world, to exercise power and to conquer. This is driven by inner
restlessness and dissatisfaction. They seek in the outside world the kind of
confirmation and satisfaction that they lack inwardly. They develop an
incredible level of activity, with which they seek to cover up the nagging
feeling of incompetence. They lack serenity and they find it difficult to let
go and relax. Certain that they can achieve everything, they tend to control
and suppress undesired feelings and emotions. These accumulate and are released
in due course in the form of irritability and uncontrollable explosions of
anger. Sub-functioning of the solar plexus chakra leads to people feeling
despondent and disheartened. They see walls and obstacles everywhere. </span></span></span></div>
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<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">The
fourth chakra is the heart chakra (<i>anahata</i>).
It is located in the middle of the chest at the level of the heart and opens to
the front. Its colour is green, pink and golden; it is associated with the
element of air, and the sense of touch. It is symbolised by the twelve-petalled
lotus. In terms of body, it is associated with the heart, the upper back with
ribcage and thoracic cavity, the lower part of the lungs, blood and the blood
circulation system, and the skin. In terms of gland, the heart chakra is
associated with the thymus gland. Its astrological associations are Leo / Sun, Libra
/ Venus, and Saturn. In the heart chakra, the three lower and the three higher
chakras are linked. The chakra provides us with the ability to empathise and to
feel with others. We perceive the beauty of nature, of the harmony of music, of
the performing arts and poetry. Here, images, words and sounds are translated
into feelings. If in harmony, the heart chakra is the centre of unconditional
love, which exists only for its own sake, and which you cannot own or lose. We
radiate natural warmth, geniality and happiness, which opens the hearts of
other people, generates trust and gives joy. Compassion and readiness to help
are further characteristics resulting from a balanced heart chakra. Our
feelings are free of turmoil and conflicts, free of doubt and uncertainty. </span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">If
the heart chakra’s function is disharmonious, people might still want to give
as much as possible, but that attitude is not unconditional, but related to
expectations, and when those are not fulfilled, they people get frustrated and
unhappy. Sub-function makes people easily vulnerable, and dependent on the love
and affection of others. If such a person is then rejected, they feel deeply
hurt, especially if they were courageous enough for once to open up. They the
retreat even more into their shell, afraid of further hurt. If a person’s heart
chakra is completely closed up, this will show in their coldness, apathy and
heartlessness. Those people need particularly strong stimuli to feel anything at
all. </span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">The
fifth chakra is the throat chakra (<i>vishuddha</i>).
It is located between the pit of the neck and the larynx. It arises from the
cervical spine and opens to the front. Its colour is light blue, also silvery
and green-blue; it is associated with the element of ether, and the sense of
hearing. Its symbol is the sixteen-petalled lotus. In terms of the body, it
relates to the areas or throat, neck and jaws, ears, voice, vocal cords,
trachea, bronchia, upper areas of the lungs, oesophagus, and arms. The related
gland is the thyroid, the astrological associations are Gemini / Mercury, Mars,
Taurus / Venus, Aquarius / Jupiter. The throat chakra is the centre of human
expressiveness, communication and inspiration. It serves as the bridge between
thinking and feeling, between our impulses and reactions to them, and we
express everything that is within us through the throat chakra. When this
chakra is in harmony, we are able to express without fear our feelings,
thoughts and inner insights. We can reveal our weaknesses just as well as we
are able to show our strengths. While we can express ourselves fully, we can
also remain silent and listen to others with our hearts and with inner
understanding. Our language is full of imagination but also very clear, full,
and melodious. When faced with difficulties and obstacles, we remain true to
ourselves, which includes the ability to say “no”. We are not influenced or
engrossed by the opinions of others, but we maintain our independence, freedom
and self-determination.</span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">If
the throat chakra lacks harmony, the communication between mind and body is
disturbed. As a result, either people find it difficult to reflect about their feelings;
feelings are pent up and released through rash action. Or people cocoon
themselves within rational thinking, denying the existence and the wisdom of
their feelings. Their way of speaking is either unpolished and rough, or rather
matter-of-fact and cool, often accompanied by stuttering. The voice tends to be
relatively loud, but without deeper content. These people will not allow
themselves to come across as weak, but try to present themselves as strong at
all costs, exposing themselves to much pressure in this way. They use their
language to manipulate others, or try to attract attention by their ceaseless
stream of talking. Sub-function of the throat chakra leads to a similar
difficulty to express oneself, but people thus affected are rather withdrawn
and shy, or they tend to talk only about inconsequential things of outward
life. When pressed to say something about what they think deep down, they tend
to feel as if they have a lump in their throat, and their voice sounds
pressured. They tend to orient their thinking and behaviour according to what
they think other people will appreciate, and do not know all that much about
what they want themselves. </span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">The
sixth chakra is also called the third eye (<i>ajna</i>).
It is located a finger’s width above the root of the nose in the middle of the
forehead. It opens to the front. Its colour is indigo blue, also yellow and
violet. It relates to all the senses, also in the form of extrasensory
perception. It is symbolised by a 96-petalled lotus. In terms of the body, it
is associated with the face, eyes, ears, nose, sinuses, cerebellum, and central
nervous system. The related gland is the pituitary gland. Astrological
associations are Mercury, Sagittarius / Jupiter, Aquarius / Uranus, and Pices /
Neptune. The forehead-chakra, or third eye, is the seat of the highest mental
powers, of the ability of differentiation, of memory, and will, and on the
physical level it is the command centre of the central nervous system. It is
also the link between soul and mind. If this chakra functions in harmony, we
have an alert mind that allows us insights of deep philosophical truths. We
realise increasingly that the outward appearance of things represent symbols in
which a mental principle manifests on the material level. The more the third
eye is developed, the more our thinking is based on a direct, inner realisation
of reality. Abilities such a clairvoyance and insights into and visions of
other dimensions emerge in dream or in meditation. In disharmony, people rely
too much, sometimes exclusively, on their intellect and reason. As a result,
people accept as truth only what they can grasp on that intellectual level. If
people do have access to deeper levels, they are not able to understand the
true meaning of the images perceived at those deeper levels. The images mix
with one’s own ideas and fantasies, becoming so dominant in the process that
one can lose all relation to reality. In case of a sub-function of the third
eye, people will be open only to the outward, visible world, and their lives
will be determined by material desires, physical needs and unreflected
emotions. They will reject spiritual truths because they consider them as based
on mere illusion and representing only nonsensical dreams without relation to
reality. Their thinking is geared predominantly towards prevailing opinions. In
demanding situations, such people will get forgetful. They also often have
problems with their eyesight.</span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">The
seventh chakra, crown chakra (<i>shasrara</i>)
is located at the highest point in the middle of the head, and opens upwards.
Its colour is violet, also white and golden. Its physical association is the
cerebrum, the related gland is the pineal gland; the astrological associations
are Capricorn / Saturn and Pices / Neptune. It is symbolised by the
1000-petalled lotus. The crown chakra is the seat of the highest perfection
humans can reach. It is the source and point of origin for all the other
manifestations of the other chakra energies. </span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">This
very brief survey of the chakras demonstrates that their dysfunction or
sub-function affects all areas of human life. If chakras absorb energies that
are not conducive to their intended and balanced functioning, then the
inappropriate energy blocks the chakras, prevents them from absorbing and
radiating the energy they are meant to deal with, and this leads to dysfunction
or subfunction. Adults can develop the ability to close their chakras against
absorption of inappropriate energy. However, by definition, unlike adults, children
cannot close off their chakras to prevent them from absorbing inappropriate
energy. I established earlier in this article that the energy fields that form
in the production process of a play for theatre, film or television with adult
material are shaped and moulded by that contents. The resulting energy fields
will be defined by and saturated with the energies relating to a combination of
physical, emotional, and sexual violence, personal suffering and misery, and
all other kinds of contents of events in life and resulting moods that we would
rather like to avoid in daily life—indeed, members of many professions work
hard in attempts at prevention and treatment. It stands to reason that
subjecting children below the age of eighteen, who cannot close off their
chakras for the purpose of self-protection, to such energy fields is highly
problematic, because the energy of those fields must be assumed to be such that
they will block all chakras, thus leading to a vast range of adverse effects,
some of which I mentioned in the brief survey of chakras, their functions, and
the symptoms of dysfunction and sub-function. This is why it is very important
that parents listen to their inborn tendency to protect their children, and act
accordingly. </span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;"><b>Works cited</b></span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Billington,
Michael (2008), Review of <i>Scarborough</i>.
<i>The Guardian</i>, 13 February. Online at <span> </span><a href="http://www.theguardian.com/stage/2008/feb/13/theatre">http://www.theguardian.com/stage/2008/feb/13/theatre</a>. Accessed 16 August 2015.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Evans, Fiona (2008), <i>Scarborough</i>,
London: Nick Hern.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Euripides (2008), <i>The
Trojan Women and other Plays</i>, Oxford: Oxford University Press.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Healey, Jennifer (2014), <i>The
Nether</i>, London: Faber and Faber.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Istel, John (2005),
‘Minor Offenses’, <i>American
Theatre, </i>22: 8, pp.114-120.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">McDonagh, Martin (2003), <i>The
Pillowman</i>, London: Faber and Faber. </span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Meyer-Dinkgräfe, Daniel (2013), <i>Observing Theatre: Spirituality and Subjectivity in the Performing Arts</i>,
Amsterdam: Rodopi.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Norris, Bruce (2007), <i>The
Pain and the Itch</i>, London: Nick Hern.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Ott, Meredith C. (2009), ‘Child Actor Ethics: Children in
Plays with Adult Themes’, MA thesis, University of Oregon. Online at <a href="https://www.google.co.uk/search?q=ott+child+actor+ethics&ie=utf-8&oe=utf-8&channel=fs&gws_rd=cr,ssl&ei=TWbQVbzSI8X1aMG-gpgB">https://www.google.co.uk/search?q=ott+child+actor+ethics&ie=utf-8&oe=utf-8&channel=fs&gws_rd=cr,ssl&ei=TWbQVbzSI8X1aMG-gpgB</a>.
Accessed 16 August 2015. </span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Pirandello, Luigi (2008), <i>Six Characters in Search of an Author</i>. In a new version by Rupert
Goold and Ben Power, London: Nick Hern. </span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Ridley, Philip (2005), <i>Mercury
Fur,</i> London: Bloomsbury.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Spencer, Charles (2014), Review, <i>The Nether</i>. <i>The Telegraph</i>,
14 July. Online at <a href="http://www.telegraph.co.uk/culture/theatre/theatre-reviews/10991160/The-Nether-Royal-Court-review-haunting.html">http://www.telegraph.co.uk/culture/theatre/theatre-reviews/10991160/The-Nether-Royal-Court-review-haunting.html</a>.
Accessed 16 August 2015</span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="font-family: Times, "Times New Roman", serif;"><span style="color: blue;">Wedekind, Frank (1980), <i>Spring
Awakening</i>. Trans. Edward Bond, London: Methuen.</span></span></span></div>
<div class="MsoNormal">
<br /></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-60456951429820841652017-11-26T12:24:00.000+00:002017-11-26T12:24:16.102+00:00Audience Participation<!--[if gte mso 9]><xml>
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/* Style Definitions */
table.MsoNormalTable
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mso-tstyle-colband-size:0;
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mso-style-priority:99;
mso-style-parent:"";
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mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0cm;
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<span style="color: blue;">In the 1970s, I attended a performance at the <a href="https://www.dhaus.de/" target="_blank">SchauspielhausDüsseldorf</a> of Jerome
Savary’s <i style="mso-bidi-font-style: normal;">Grand Magic Circus</i>. As part
of the performance, an attractive, young, fully nude female performer sat on an
elderly male spectator’s lap for a while. My first observation of audience
participation. </span></div>
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<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/AVvXsEgbaoIvXTkcMg7ZXClSU8xMWO6FY04g5Ug7Z78K1sDpHkiQ2GRBh32ZzleDTnvVXgH_KUQpRtLy_QLEkd0u8sOgY4nZKmCZdxtqHQ1f2cCGzxG3bKU5xmfjXXn-aOlLY692nKul_EVG0M5X/s1600/2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="820" data-original-width="1600" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbaoIvXTkcMg7ZXClSU8xMWO6FY04g5Ug7Z78K1sDpHkiQ2GRBh32ZzleDTnvVXgH_KUQpRtLy_QLEkd0u8sOgY4nZKmCZdxtqHQ1f2cCGzxG3bKU5xmfjXXn-aOlLY692nKul_EVG0M5X/s320/2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://leeds-list.com/culture/5-alternative-nights-out-in-leeds/" target="_blank">Caroline Horton in <i>Penelope Untold</i></a></td></tr>
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<span style="color: blue;">In March 2015, <a href="http://carolinehorton.net/" target="_blank">Caroline Horton</a> presented her
one-woman show <i style="mso-bidi-font-style: normal;">Penelope Retold</i> at the
<a href="https://lpac.co.uk/" target="_blank">Lincoln Performing Arts Centre (LPAC).</a> She plays Penelope, wife of Odysseus, and
re-tells her story from a contemporary angle. Before the show, spectators were
asked to fill in a form, with name, age, and answers to three or so questions.
At some point in the performance, Penelope reveals that Odysseus had given her
permission to assume him dead when their son grows his first beard and he had
not yet returned from war. At that point, Penelope was free to remarry. She had
contacted a marriage bureau and they had sent her a number of profiles. Horton
then opened an envelope and took out the forms we had filled in. She read out
some, at random, deciding against a female, and against a very young male, and
then read out my form, and asked me to identify myself and to join her on
stage. Once I got there, she asked me to sit on the wooden steps leading up to
the large bed that constituted the set, and that she never left throughout the
performance. Horton / Penelope asked me specific questions about myself, then
proceeded to tell me about herself. She offered me sparkling wine (assuring me
in a whisper that is was only fizzy water), and concluded by assuring me she
had enjoyed our meeting and conversation, that neither of us was in a hurry to
take things forward, and she might phone me in due course. I was then asked to
return to my seat, and at the end of the performance, Horton motioned to me
during the curtain call.</span></div>
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<br /></div>
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<span style="color: blue;">It was an enjoyable experience for me, exciting, unusual,
and challenging. Some of her questions addressed my attitude towards the
military of today, in relation to her own rather critical war widow’s attitude
to it two millennia ago, and in my response, I sought to balance giving answers
that would make my character a favourable candidate for a relationship, while
at the time not offending any members of the military, or their friends and
relatives that might well have been in the audience in an area with a large
number of RAF bases, for example. I never felt uncomfortable during what may
have been five minutes on stage, because the performer, Horton, came across as
in control, and her guidance for my performance was firm and clear throughout. </span></div>
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<br /></div>
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<span style="color: blue;">At the performance in LPAC on 29 September of <i style="mso-bidi-font-style: normal;">Maisie Says She Loves Me</i>, written by
Jimmy Osborne, and performed and directed by David Aula, the character
presented in this one-man show is Sheldon, the boyfriend of Maisie. Aula
selects, apparently at random, a female spectator, asks her to leave her chosen
seat and to sit in the front row on a seat kept free for that purpose. He then
addresses her as Maisie throughout, gives her the flowers he gave to Maisie,
and the bottles of Champagne he gave to Maisie to apologise for shouting at her
(one bottle) and hitting her (two bottles), respectively. He invited her to stand up for a mutual hug, and
she had to caress his face. Aula asked several other apparently random members of the
audience to repeat his words, representing friends and acquaintances of Sheldon
asking him aggressive questions. He approached me when he talked about Maisie’s
father, Henry, reporting that Henry had a habit of handing out wine to guests like a butler.
He then gave me a bottle of red wine and some plastic tumblers from the LPAC
bar. There were no clear instructions on what to do, so I opened the bottle and
poured a little into the first tumbler, offering it to another spectator in the
row in front of me. In this way I distributed three tumblers with wine from
where I was sitting, and then passed the wine bottle and remaining tumblers
down the rows for others to help themselves as they liked. Some did, and in the
end the bottle and the remaining tumblers were placed on the stairs. Other
spectators chuckled when I distributed the wine, Aula later commented, in
character, to the effect that the real Henry at least moved around while serving, whereas I had
remained seated. Without clear instruction, as participating spectator I was
left in some kind of limbo, and later I was possibly told off for not having
done what the actor/character may have expected me to do, but, without having
asked him after the show, I still do not know what I had been meant to do and
why. That lack of guidance was not satisfactory. <a href="http://dmd27.blogspot.co.uk/2017/11/the-salon-project-2012-3.html" target="_blank">See also the blog entry on the2013 Salon project. </a></span></div>
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<br /></div>
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<span style="color: blue;">Guidance does not need to be restricting, as the Horton/<i style="mso-bidi-font-style: normal;">Penelope Retold</i> example shows. The
performer needs to be aware that appropriate, non-restrictive guidance of
audience participation is essential for its success, and that it needs careful
thinking and planning. Unguided or insufficiently guided audience participation
distracts and is painful. Carefully guided audience participation is fun for
all involved. </span></div>
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<span style="color: blue;"><br /></span><span style="color: blue;"><span style="font-family: "palatino linotype" , serif; font-size: 12pt; line-height: 107%;"></span></span></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-70870768749374542052017-11-26T12:20:00.001+00:002017-11-27T17:39:29.345+00:00The Salon Project (2012-3)<!--[if gte mso 9]><xml>
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<![endif]--><span style="color: blue;"><span style="font-size: 12.0pt;">Stewart Laing founded <a href="http://www.untitledprojects.co.uk/" target="_blank"><i style="mso-bidi-font-style: normal;">Untitled Projects</i></a> in 1998. According to
the company’s website, </span></span>
<br />
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm;">
<span style="color: blue;"><span style="font-size: 12.0pt;">Each
project is driven by a personal aesthetic vision that attempts to re-configure
the conventions of theatrical space. Each project is imagined individually and
a different approach is taken to each, with a specific group of freelance
practitioners every time.</span></span></div>
<div class="MsoNormal" style="margin-right: 1.0cm;">
<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/AVvXsEhQFwpmE44t19SY7L4N8wQc0DLcAQ-Q8W1s-1NFFwEIEAZGTq-bc6m4Z944p0XEcdE3M1NgF5CKNDFi88C919SlJOOCjjDb2JWt4z6TSjAyoIdU4w8YhQniKqYB_dY-1moiw_QMhC8XWwLz/s1600/8.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="400" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQFwpmE44t19SY7L4N8wQc0DLcAQ-Q8W1s-1NFFwEIEAZGTq-bc6m4Z944p0XEcdE3M1NgF5CKNDFi88C919SlJOOCjjDb2JWt4z6TSjAyoIdU4w8YhQniKqYB_dY-1moiw_QMhC8XWwLz/s200/8.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://twitter.com/susiehennessy" target="_blank">Susie Hennessy</a></td></tr>
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<span style="color: blue;"><span style="font-size: 12.0pt;">In 2012, the company
presented <i style="mso-bidi-font-style: normal;">The Salon Project</i> at the
Traverse Theatre, Edinburgh, with seven performances in October, followed by
the <i style="mso-bidi-font-style: normal;">Salon Project Revisited</i>,
presented at the Citizens Theatre Glasgow for seven performances in March 2013,
and, in conjunction with the Wellcome Trust, in April 2013 at the Pit Theatre
in the Barbican Centre in London. I attended that performance together with <a href="http://www.dmd27.org/Biosusie.docx" target="_blank">Susie Hennessy</a>, and below is a conversation about the production. </span></span></div>
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<br /></div>
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<span style="color: blue;"><span style="font-size: 12.0pt;"></span></span><br />
<span style="color: blue;"><span style="font-size: 12.0pt;"></span></span></div>
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<span style="color: blue;"><span style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt;"> </span></span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt;">DMD </span></span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt;">E</span></span><span style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt;">ach performance had space for around sixty members of
the audience, to be admitted in</span></span><span style="font-size: 12.0pt;"> three
groups of around 20 people at 6pm, 6.30pm and 7pm, and asked to leave at 9pm,
9.30pm and 10pm, respectively. Tickets were allocated on a first come first
served basis. Audience members had to provide email contact details, and a
member of the <i style="mso-bidi-font-style: normal;">Salon Project</i> team
contacted them by email a few weeks before the performance with a request to
enter their measurements on a tailor-made website, and provided a link to a
video instruction that would help with this. A few days before the event, the <i style="mso-bidi-font-style: normal;">Salon Project</i> representative sent a
further email reminding audience members of the event. </span></span></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/AVvXsEiUF1Rz8OYt3Z8jsoIyy8wlaZ7FC_5wHU4jinKTuKO2QhaWRJMf7UpYNIS7DcTJdORwfU3TniTftr_kHA4t1js6ElvPPhR-A0U6RGKkdgVXm9iLOet1WxHEwfBwa40ysLmrYkAgR3wIglIO/s1600/3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="991" data-original-width="1600" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUF1Rz8OYt3Z8jsoIyy8wlaZ7FC_5wHU4jinKTuKO2QhaWRJMf7UpYNIS7DcTJdORwfU3TniTftr_kHA4t1js6ElvPPhR-A0U6RGKkdgVXm9iLOet1WxHEwfBwa40ysLmrYkAgR3wIglIO/s640/3.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.untitledprojects.co.uk//assets/downloads/cms/5163e1adeff1b-Saturday%20th%20London.jpg" target="_blank">Salon Project, 6 April 2013, Barbican Centre London</a></td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">On arrival at the theatre
foyer of the Pit Theatre in the Barbican Centre in London on the 6<sup>th</sup>
of April for the 7pm admission, we were welcomed by several <i style="mso-bidi-font-style: normal;">Salon Project</i> staff. Female staff<span style="mso-spacerun: yes;"> </span>wore contemporary formal dress, and had
applied slightly very light-coloured make-up; their hair was elaborately
styled. Male staff<span style="mso-spacerun: yes;"> </span>were in evening suits
and had also applied make-up to render them pale. There were also some regular
Barbican front of house staff, who looked a little bewildered and amused. We
were asked to leave our coats in the wardrobe area in the foyer, and to wait
until asked to enter the dressing area. When our time came, we were asked to
assemble around the major male master of ceremonies, who gave us an
introduction to what was to follow. We would be led by our dedicated guide for
the evening, who tuned out to be one of the female staff who had initially
welcomed us; she had disappeared at some point during the time we were waiting
in the foyer and now reappeared dressed in period costume. She led us through a
maze of narrow passages in the backstage area of the theatre to the dressing
areas, also backstage, one for the women, one for the men.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">SH</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">With hindsight, the
air of “neither one thing nor the other” that pervaded the entire evening
became apparent the moment that we entered the foyer of the Pit Theatre. There
was an atmosphere of uncertainty amongst both staff/performers, and spectators/participants,
and some confusion as to where “pedestrian” possession (bags etc.) should be
placed, prior to entering the inner sanctum. As the master of ceremonies
greeted us and ran through certain formalities and housekeeping hints and tips,
whilst we stood upon the threshold of the experience, his affected attitude of
“I am not performing, but observe my skill, as improvisational actor, as I
casually, yet efficiently, deliver to you all the information you require”,
had, sadly, already been undermined by the fact that we, the third group of
entrants, had heard the same speech, verbatim, as he reeled it off the group
who had gone before us, entering, as they did, at around about the time that we
were initially scheduled to board. The sense that we had been expected to assume
the mentality of grateful and easily-pleased children, entertained and excited
enough by the mere fact that we got to put on costumes and mix with the “actors”,
was only exacerbated by the MC’s asking if we needed to visit the conveniences
before we ventured in. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXdGK6-ykl1JpzX0mf1sZP1mE9Mb7ynWChoOzSZFdyntI5psNmZN4z7C69gdnOuINxvO3iRU15BjxNB-nZ03Q2nmiZfy2-nAcebkh9y2Zzin8PKJZadY_aq-Jadhbt4ErK0bagULJJVOJU/s1600/5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1069" data-original-width="1600" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXdGK6-ykl1JpzX0mf1sZP1mE9Mb7ynWChoOzSZFdyntI5psNmZN4z7C69gdnOuINxvO3iRU15BjxNB-nZ03Q2nmiZfy2-nAcebkh9y2Zzin8PKJZadY_aq-Jadhbt4ErK0bagULJJVOJU/s200/5.jpg" width="200" /></a><span style="color: blue;"><span style="font-size: 12.0pt;">DMD</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">Here, costumes were ready for
us on clothes racks with our names to the section with the clothes prepared for
us. There was also a rack with additional garments in case prepared clothes did
not fit. Once our clothes were sorted, we were led on to the make-up desks
where we had make-up applied and, where appropriate, hair was styled. Small
groups of spectators who were ready were then ushered into the actual
performance space, square and white—with white walls made from wooden panels or
sheets of cloth, a white floor, and a white cloth ceiling from which a number
of elaborate chandeliers were hanging. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">SH</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">Even before
hindsight could be benefited from, alarm bells rang upon entering the
“dressing rooms”, as one was ushered or, rather, herded, to an available
makeshift dressing table, where a mixture of bemused, forthright, friendly,
inexperienced and ambivalent amateur hair and make-up “artists” did their best
to play at assured and confident dressers. Their masks were paper-thin,
however, as some of them dared not so much as apply a layer of hairspray
without the nod from at least two of their counterparts, and the introduction
of a short-haired female seemed a thing completely unthought of and unprepared
for. The costumes themselves demonstrated the strange array of inconsistencies
that seemed to betoken the entire production, some looking decidedly Victorian,
some art deco bohemian, and some betraying Grecian and even Restoration
elements. It is not clear whether or not this was quite deliberate, a result of
mixed resources, or some kind of supporting statement, uttered in sympathy with
the overall <i style="mso-bidi-font-style: normal;">mise en scene</i>; and that
was part of the problem, or the curiosity, surrounding this project: it was
just not clear what it was trying to be. Upon entering the “space”, there was,
indeed, a period of amusement, as the novelty of the situation brought out the
photographer in most guests, who were permitted the 21<sup>st</sup> Century
technology of smartphones and the like, in this supposed simulation of a French
salon setting. Close inspection was no friend to the “set”, which lost as much,
if not more, from the unconvincing and inelegant panels, cheap
not-quite-mirrors, crudely cut holes and visible wires, as it gained from the
resplendent chandeliers. One staging element remains particularly worthy of
note, however, and this came from a lighting effect which rendered it permanent
daylight in the “salon”, as the impression of sun shining outside the “windows”
was created; this did create a rupture, or an elongation, in the normative
passage of time. That said, whether it should not have been rendered dark
outside, for greater authenticity, is perhaps another debate. </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">DMD</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">As we were in the 7pm group,
those spectators who had tickets for the 6pm and 6.30pm entries were already in
the space and looked curiously at the newcomers and their costumes. Similarly,
we all looked at each other and the people already in the space. In due course
we were welcomed by Laing, his voice amplified by a mike attached to his face,
and there was also a lady in her late 50s who seemed to have some more formal
function than a mere audience member, mainly suggested, initially, by her
attempts to be and look important, and the fact that she was miked up as well.
She gave an address at the end of our time in the venue, and was identified in
the programme as the <i style="mso-bidi-font-style: normal;">Salonière</i>. At
regular intervals, and in different locations in the salon, the assembled
audience was treated to a special event. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">SH</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">Some of the more
interesting aspects of this whole experience were born of the fact that one did
not know who was there simply as spectator, who the “actors”, if indeed there
were actors as such, were, to what extent the “guest speakers” were giving
genuine academic papers, and to what extent they were performing, and general
observations of other “audience members’” affected behaviour in this alien
situation added to the disorientation. Once in costume, it appeared that many
of our co-participants developed something of a character, or alter-ego, which
cancelled out the modesty that usually declares the public taking of a
proliferation of photographic self-portraits, “selfies” as the Facebook
generation would call them, rather conceited. Mob-mentality did take over in
the salon, and suddenly the entire spectacle did become a glorified photo
opportunity that we all grasped with both hands.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">The “casual”
addresses and provocations made by the <i style="mso-bidi-font-style: normal;">Salonière
</i>were, at best, awkward, at worst, embarrassing; this may have been the
desired effect. It is not certain. Unfortunately these “moments” were just not
well-thought-out or stimulating enough to capture the imagination, even the
interest, of those present, and those who did engage were those liminal beings
who were already on the threshold between spectator and performer. </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">DMD</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">At first, John Bowers,
Professorial Research Fellow at the Interaction Research Studio, Goldsmiths
University of London, gave us a list of developments he was predicting would
happen in the future, speaking from a point in time of 1899, and asked us to
applaud or boo the items he listed. This was initially fun, but wore thin quite
quickly as the predicted inventions were presented far too fast to be able to
respond to them fully, and in very random order, and for too long. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">SH</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">The Bowers episode
really set the tone for what was to follow; this was neither performance, nor
spontaneous event, nor academic exercise. I wonder if Bower deliberately
“dumbed down” any academic content that his “paper” may have had, in order to
make it accessible to a wide audience; a grievous error if this was the case. At
the end of Bower’s “turn”, there was what seemed like a horribly-staged
“spontaneous” question from the audience (or a performer of sorts, it is
difficult to say), which allowed Bower to make a very shallow argument that
united those present in the ground-breaking realisation that the atom bomb is a
bad thing . . . His solution to the problem of the existence of the technology
which enables the production of these Armageddon-bringers amounted to either
killing everyone who is “in the know”, or waiting for them to die. </span><span style="font-size: 12.0pt;"></span></span></div>
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<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/AVvXsEiSsFzBTkpxshhlpxlXFktPvfEVUsIXgykVTbtjrR4OlSZkc4VJJ-o4INa_2dfZHhf6iH2AIfh_ZoLnEQnSdab95ZJLTH1mlU-wQB1rxrTNO-sDanWsJX-Zqboq9-SFbBUnJqveL-DWkhgy/s1600/7.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="300" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSsFzBTkpxshhlpxlXFktPvfEVUsIXgykVTbtjrR4OlSZkc4VJJ-o4INa_2dfZHhf6iH2AIfh_ZoLnEQnSdab95ZJLTH1mlU-wQB1rxrTNO-sDanWsJX-Zqboq9-SFbBUnJqveL-DWkhgy/s200/7.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.psy.ox.ac.uk/team/molly-crockett" target="_blank">Molly Crockett</a></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">DMD</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">After some time of unguided
presence in the space, <a href="http://www.crockettlab.org/" target="_blank">Molly Crockett</a> was introduced as a rising star in the
world of science, having just graduated in neuroscience from Cambridge and now
with a Wellcome Trust fellowship to do further research—into moral enhancement.
<span style="mso-tab-count: 1;"> </span>She introduced us to her research into
ways of changing people’s moral behaviour: adding substances to the diet or
depriving the diet of subjects in lab experiments allegedly have an impact on
the way they respond to questions relating to choices in morally challenging
case study situations, which seem to be well worn in philosophy: subjects whose
brain has been deprived of the neuropeptide serotonin will respond differently
to the scenarios than control subjects who have not had their brain chemistry
changed. The question was whether the amount of a certain neuropeptide in the
brain can change behaviour—apparently it can. There was no indication that such
research is potentially already now ethically problematic, or, in terms of the
research itself, whether the act of interference itself may have had an impact,
rather than, or in interaction with, the predicted impact of more or less
serotonin in the brain at the point when the moral decision has to be made.
Crockett’s performance (?) as a wide-eyed, enthusiastic, exited, scientist,
with a pronounced American accent, exuding childish pride whenever she was able
to throw in the word “lab”, distracted from the potentially serious nature of
what she had to contribute, and her CV and list of presentations at the highest
levels of academic research, to judge by the names of the institutions that
have invited her to present her research to date, were undermined by her performance.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">SH</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">I think you’ve said
it all there Daniel. Another instalment of “Academia Light”/“Pop Academia”.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">DMD</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">Her presentation was
followed, in between unguided meandering, by a piano recital (with the score on
a tablet), the recital of a song, presented by a soprano accompanied by piano.
She, too, was in costume, and I wondered whether the fact that her performance,
although competent in so far as she had memorised words and tune, lacked vocal
support and beauty of tone, was indicative of what entertainment in the French
salons on which this project experience was meant to be based would have been
like, or whether it was another aspect of the project not having been thought
through enough. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmudT-Zz-0kzb3S5Iy2OutRpugzCv4PXaBapI9F_g_il1rpjtx8E1wBzBllqK6G9mD_BBzRZ0Dm8n1DABPGfs9NjgVI51SVJqo18tvyY1zqd7uXHQemrAMlbd2t5NEEVweL4dq5Kx-WrGj/s1600/4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1069" data-original-width="1600" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmudT-Zz-0kzb3S5Iy2OutRpugzCv4PXaBapI9F_g_il1rpjtx8E1wBzBllqK6G9mD_BBzRZ0Dm8n1DABPGfs9NjgVI51SVJqo18tvyY1zqd7uXHQemrAMlbd2t5NEEVweL4dq5Kx-WrGj/s200/4.jpg" width="200" /></a></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">SH</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">Both the piano
recital and song lacked the finesse and/or virtuosity that one would expect to
be presented with, if asked, or subtlety encouraged, to direct one’s full
attention to a solo performer for any real length of time. This
“project”/production, whatever you wish to call it, throws up so many
difficulties when it comes to discussion of it in the context of a theatrical
event. Where was the performance? Where was the theatre? The word, and I would
like a better word, that keeps coming back to me is “amateurish”. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">A nude tableau vivant had
been part of the publicity for the project, and a reason, presumably, for the
age restriction, but during our presence in the salon, there was none. At some
point the master of ceremonies and the guides arranged the chaise in two rows
and asked spectator-participants to arrange themselves around those chair for a
group photo. At the same time the lights in the chandeliers dimmed and started
flickering, and the sound system produced a soundscape of low-pitch droning of
aeroplanes. A TV screen on another side of the venue started showing clips, in
a loop, of children engaging in mysterious activities, and nude adults draped
around unexpected scenery spattered with unambiguously fake blood, surrounded
by daggers and samurai swords. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">SH</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">It is not clear
whether the six-form-drama-student-esque video loop was intended, in fact, to <i style="mso-bidi-font-style: normal;">be</i> the nude tableau vivant, but this was
a real low point of the evening, and betrayed a certain pretension behind the
production’s endeavours. This hideously crude attempt at a “Theatre of Cruelty”
moment was poorly executed, unsophisticated, and patronising, where, one can
only presume, it was meant to strike unease and wonder into the hearts of those
present. The most unsettling part of this episode was the heat produced by many
costumed bodies in a confined space, and the combination of the uncomfortable
shoes and vagueness of seating arrangements, which led to a fleeting desire to
pass out, in true “period style”.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">DMD</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">At 9pm, the first group was
asked to leave, at 9.30pm the second, and our group at 10pm. Wine had been on
offer throughout, offered in plastic (?) glasses from silver plates carried by
costumed waitresses. There was also water available, in plastic tumblers via
self-service, and at the end, small quantities of whiskey were offered in small
plastic cups. Laing talked for a while, then the salonière said a few words
about death, and a fervent elderly male spectator offered her an affair with
the promise of killing her after its consumption—she graciously declined, not
without suggesting he was merely trying to impress his wife. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJtSR4SNq3CFDuZ5ni0Npfvar-VbHRwJj6JOJowC-1lzcbBf-xpGrjywHW4dyUpw2tB229m2EaHYmTsYfQYE_iGMClOjLZVnuVx7f9I9vL_qDXuBCkznM1jXGUzIbI9X86i8YxfSHFLnnL/s1600/6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="1189" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJtSR4SNq3CFDuZ5ni0Npfvar-VbHRwJj6JOJowC-1lzcbBf-xpGrjywHW4dyUpw2tB229m2EaHYmTsYfQYE_iGMClOjLZVnuVx7f9I9vL_qDXuBCkznM1jXGUzIbI9X86i8YxfSHFLnnL/s200/6.jpg" width="200" /></a><span style="color: blue;"><span style="font-size: 12pt;">SH</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">The refreshments
provided were another jarring point, providing less elegance and intoxication,
and more “essence of plastic”. Hmm . . . there is a metaphor for the whole
thing there I think. The closing dialogue involving the salonière led one to
wonder if the character she was aiming for was, in fact, drunken, probably
slightly bitter, middle-aged woman to be avoided at parties. If it was, she did
a good job. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">DMD</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12.0pt;">Altogether certainly a unique
event, but, as some reviews in the daily newspapers commented as well, the
spectator experience was not sufficiently well and carefully guided; the talks
on the night we attended were not suitable to spark much debate, certainly not
among people who had never met before. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">AH</span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: 12pt;">As neither one thing
nor the other, a juxtaposition of the present and some bygone era, something
about this whole project just didn’t “work”. One fellow participant, prior to
our entry into the salon, spoke about what was to come in terms of “immersive
theatre”. In so far as all persons present being clumsily immersed in an
environment, that seemed to signify nothing, goes, this was an immersive
experience. As far as “theatre” goes, however, it is really difficult to
comment on the merits, or otherwise, of this particular evening, as though it
yielded anything that we might call theatrical entertainment. The blurring of
boundaries between performer/non-performer, the quality of set, refreshments,
make up and costuming, and the standard of the performative “turns” that were given,
made this an enjoyable experience in much the same way that attending an
amateur panto is an enjoyable experience – and I say this with the utmost
sincerity. The whole thing was an entertainment, of sorts, and there was some
fine company; I just don’t think that the disparate elements of this production
pulled together to form a whole that titillated the spectator for the <i style="mso-bidi-font-style: normal;">intended</i> reasons. The project was
perhaps not experimental enough, although it seemed to think that it was
quintessentially avant-garde, shocking even, not mentally-stimulating enough,
and not theatrically-forthcoming enough, to challenge an experienced/intelligent
audience. It would be very interesting to know what exactly the “aesthetic
vision” that fuelled this production was, as no coherent vision or purpose
shone through, which was a shame as, on paper, this promised to be a theatre
academic’s paradise. <i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Salon Project</i> was, I’m afraid, a
dilution and mismanagement of some, essentially, intellectually exciting and
potentially aesthetically divine ideas.</span></span></div>
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<div class="MsoNormal">
<br /></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-58377860172205807902017-11-16T11:51:00.003+00:002017-11-16T11:51:51.901+00:00Heinz-Uwe Haus directs Ibsen's "The Lady from the Sea" at the National Theatre Cyprus, Nicosia<!--[if gte mso 9]><xml>
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<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">Renowned
theatres such as the National Theatre in London have productions in their
repertory that fall way short, or at least somewhat short, of the highest
expectations rightfully associated with them. In their recent <i style="mso-bidi-font-style: normal;">Salome</i>, most of the stage and most of
the actors were in semi-darkness throughout—no chance of seeing faces. The
subtitles for the text spoken in Hebrew, visible on several monitors placed
across the theatre, were so small and the monitors so far away from the audience
that spectators would have needed binoculars to be able to read the subtitles.
A recent production of <i style="mso-bidi-font-style: normal;">Hedda Gabler</i>,
with star director Ivo van Hove and star actors Ruth Wilson and Rafe Spall, was
impressive enough but suffered from inconsistencies of narrative that could be
correlated to the production’s minimalist three-week rehearsal period. Over the
past few years, several West End theatres have enjoyed long runs of productions
by Mischief Theatre Company, such as <i style="mso-bidi-font-style: normal;">The
Play that Goes Wrong</i>, <i style="mso-bidi-font-style: normal;">The Comedy
about a Bank Robbery</i> and <i style="mso-bidi-font-style: normal;">Peter Pan
Goes Wrong</i>. Compared with comedy by Ayckbourn, or farce by Ray Cooney,
these are worthy slapstick comedies for the amateur market. The question arises
whether there is nothing better available for the West End, even if audiences
are obviously willing to pay hefty ticket prices?</span></span></div>
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<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/AVvXsEgDRgaWt0EPIuWPqaq7TYF2lTp-mfmOtgPi6qj1wSV4AGKfx1en8eLQkfanzKanJehxPLohz7Tu6pwnjU9emLmkjl3aVIhCxS_Dsl43e82JruNcE0DiRIIfRjM6KQL8DmcUrODja3T7Ka-r/s1600/2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="534" data-original-width="800" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDRgaWt0EPIuWPqaq7TYF2lTp-mfmOtgPi6qj1wSV4AGKfx1en8eLQkfanzKanJehxPLohz7Tu6pwnjU9emLmkjl3aVIhCxS_Dsl43e82JruNcE0DiRIIfRjM6KQL8DmcUrODja3T7Ka-r/s320/2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><a href="http://www.thoc.org.cy/production-contact/chaints-oybe-chaoys,2441,3273,en" target="_blank">Heinz-Uwe Haus</a></i></td></tr>
</tbody></table>
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<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">With
these thoughts in mind, I think it is necessary to celebrate good and great
theatre thoroughly. Such as the production of <a href="http://www.thoc.org.cy/event/i-kyra-tis-thalassas,3273,0,el,general" target="_blank"><i style="mso-bidi-font-style: normal;">The Lady from the Sea</i></a> by Henrik Ibsen at the National Theatre in Cyprus,
Nicosia, which opened on 11 November 2017 and is still running until 30
December this year. The play is presented in Greek, directed by German director
Heinz-Uwe Haus, who has a long history of productions in Cyprus, going back to
his 1975 production of <i style="mso-bidi-font-style: normal;">The Caucasian
Chalk Circle</i>. </span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">As I
argued in my post on Ostermeier’s 2005 production of <a href="http://dmd27.blogspot.co.uk/2017/05/hedda-gabler-schaubuhne-berlin-2005.html" target="_blank"><i style="mso-bidi-font-style: normal;">Hedda Gabler</i></a>, Ibsen provides the blueprint for excellent
story-telling. Thus, a director who recognises and trusts that blueprint has
the chance of delivering a theatre production that engages the audience’s
emotions, wit, imagination, intellect and visual senses in a well-told story.
Such a story will have an abundance of nuances and detail that combine
organically into a cogent whole, and makes full sense across the play’s plot
and the timeframe of that plot. </span></span></div>
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<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/AVvXsEi1UMJnxgHqIdCvpP3N4A1dn-_yigrLU2_ujP22RpkhW_ZIkz0OIXj2E0c4O9WWEegs_-bntdKRw0t3-P6FXiroBXhReyknAGpkhskHxqQw4djCan1jWxmUc6s4DBo3pv5Vab5ZyU50ZuC-/s1600/3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="533" data-original-width="800" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1UMJnxgHqIdCvpP3N4A1dn-_yigrLU2_ujP22RpkhW_ZIkz0OIXj2E0c4O9WWEegs_-bntdKRw0t3-P6FXiroBXhReyknAGpkhskHxqQw4djCan1jWxmUc6s4DBo3pv5Vab5ZyU50ZuC-/s320/3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.thoc.org.cy/about/photographs,en-about-02-01-01,en" target="_blank">The main auditorium at the Cyprus Theatre Organisation</a></td></tr>
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<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">Haus
does trust the author, and indeed an abundance of nuance and detail combines
into a captivating story unfolding on the stage, even for audiences, I dare
say, who do not understand Greek, like myself. The set represents an open,
wide, spacious landscape, with movable platforms and panels, as well as
entrance arches of different width and height. The image of the sea is created
by the company of actors holding and undulating a large sheet of cloth. The
lighting design demonstrates that light need not be dim to create atmosphere—here
the light creates mood, and enhances emotion while it is possible to see all characters,
and especially their faces, clearly at all times even from the back rows.
At the beginning and end of the production, as well as the transitions between
Acts, music by Michalis Christodoulidis, composed specifically for the
production, adds meaningfully to the atmosphere. </span></span></div>
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<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/AVvXsEh36XR5OEqTN6eu2mdJ86KTP7e2GmnTi3xh_65LrFCSjmypzXDycE9BsCB8kmpcyEiKsVH6s1b5Q2OSREnW6xY0pVPdf2gtQUB7qBrIq1BUeBoDlTbyqFAzNOb_5cLa5PaBBt1Fl6KXZk6N/s1600/4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="401" data-original-width="600" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh36XR5OEqTN6eu2mdJ86KTP7e2GmnTi3xh_65LrFCSjmypzXDycE9BsCB8kmpcyEiKsVH6s1b5Q2OSREnW6xY0pVPdf2gtQUB7qBrIq1BUeBoDlTbyqFAzNOb_5cLa5PaBBt1Fl6KXZk6N/s200/4.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.thoc.org.cy/production-contact/ntinos-lyras,2234,3273,en" target="_blank">Ntinos Lyras</a> (Wangel)</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">Wangel
comes across as the thoroughly well-meaning provincial, local doctor, right
from when he enters the scene for the first time with his small, worn doctor’s
bag. He has achieved a certain natural level of authority in his community, but
as a rural physician he is by far not wealthy, also demonstrated by the suit he
wears, once elegant but now worn like his bag. He is good-natured and really
loves his children and his second wife, Ellida. She is much younger than him,
and the production finds several ways of conveying her relation to the sea. She
is at the centre of a precisely choreographed sequence of movements under the
cloth representing the sea, where she rolls around the stage in joyful abandon.
Her existence “on land” is also related to the element of water in her
physicality, the fluidity of her movements. She is hardly ever not moving, and
restless in that sense, but those movements are like quicksilver, fluid, flowing,
wave-like, not sudden, abrupt or jerky. Her physicality is thus in stark
contrast to that of Wangel, her husband, who is stiff not only from age, but
from the set and established conventions and routines characteristic of his
life. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik3zVo_6KGY0VBD7-_jiLEGpN05QTorOzMzJBgXXU9HDvWLQYlt0VBgLSk54iysP4cFmLQkXvS1vaiYX68IebGukv9aqFEPmqesFHoefaZs4xjeBIYYW6_xq3qOhmvSIT22Ain_b9ymGHo/s1600/1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="310" data-original-width="690" height="143" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik3zVo_6KGY0VBD7-_jiLEGpN05QTorOzMzJBgXXU9HDvWLQYlt0VBgLSk54iysP4cFmLQkXvS1vaiYX68IebGukv9aqFEPmqesFHoefaZs4xjeBIYYW6_xq3qOhmvSIT22Ain_b9ymGHo/s320/1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><table cellpadding="0" cellspacing="0" class="tr-caption-container"><tbody>
<tr><td class="tr-caption" style="text-align: center;"><i>From the Website of <a href="http://www.thoc.org.cy/event/i-kyra-tis-thalassas,3273,229,en,general" target="_blank">Cyprus Theatre Organisation</a></i></td></tr>
</tbody></table>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">Wangel
is worried about Ellida’s yearning for the sea. He does not understand that
yearning, because he does not feel it himself. Nevertheless, he does not judge,
let alone blame Ellida for it—she does not understand it either,
intellectually, she can only describe it vaguely and poetically, and through
her body. He seeks for ways for both of them to understand her better. What she
describes or explains may startle him, which is obvious in his intonation, but
the voice never carries aggression or confrontation. This explains the level of
trust she obviously has in him, despite the problems that have beset their
relationship. On the basis of that trust, she can, and does, talk to him openly
about everything. </span></span></div>
<br /><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/AVvXsEgaIHm2xTepTZRRcdDdatLBOIHtxJAIpeZKCC7RNWfTIbluB8Yo4lck8jT6bF8Kr39lq1gasf-1Qt83rSJEXE-cFzxVT1UKql7ctXq-GONgwh4_ijzpxW2e_TayiSr_ZEi-t0AjYC-ABE8_/s1600/5.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="200" data-original-width="119" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaIHm2xTepTZRRcdDdatLBOIHtxJAIpeZKCC7RNWfTIbluB8Yo4lck8jT6bF8Kr39lq1gasf-1Qt83rSJEXE-cFzxVT1UKql7ctXq-GONgwh4_ijzpxW2e_TayiSr_ZEi-t0AjYC-ABE8_/s200/5.jpg" width="118" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.thoc.org.cy/production-contact/stela-fyrogeni,4823,3273,en" target="_blank">Stela Fyrogeni (Ellida)</a></td></tr>
</tbody></table>
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<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;"> </span></span><span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">It
is the trust Ellida has in, and demonstrates towards, Wangel, that allows
Wangel, at the end of the play, to make the important step of going beyond all
conventions and norms, all the routine that has given him a lot of strength
across his life, and to release Ellida, his beloved wife, from her marriage
vow. The power ratio remains part of the convention: it is the “weak” wife who
has to ask for her freedom, and it is in the power of the “strong” man to give
that freedom or not. However, the power shifts, because once set free, Ellida
becomes the strong woman, in whose power it is now to choose between the
Stranger and Wangel. At that moment, in terms of power, the men are at her
mercy. </span></span>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">Ellida’s
liberation, and her free decision to stay with Wangel, also mean liberation for
Wangel—both his decision to allow freedom to Ellida, and his happiness when she
chooses him, mean stages of liberation for Wangel, and in Haus’s production, that
liberation is again reflected in his physicality.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">Sadly
for both Wangel and Ellida, Ellida has not yet been able to develop a
relationship built on trust with her step-daughters, younger Hilde and older
Bolette. They, in turn, have not yet warmed to their step-mother, even after
three years with her. They do not understand her, and she is too busy with
herself and her relationship with Wangel, for her to be able to develop her
role as step-mother. </span></span></div>
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<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;"></span></span></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/AVvXsEhlH-IosZZAjL6u8FZNliPXTAx_d-Je1mbrbD8SFgqYCpb0x4mRY3ujwFufQswbD9LR__dY9h-jyMhx0zX7Gx3ZkW_j3tW0AAoubxWF9A9iBX8_lWXO56d_VwL06KBuIr3VdqlqvBWcIh8G/s1600/6.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="196" data-original-width="156" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlH-IosZZAjL6u8FZNliPXTAx_d-Je1mbrbD8SFgqYCpb0x4mRY3ujwFufQswbD9LR__dY9h-jyMhx0zX7Gx3ZkW_j3tW0AAoubxWF9A9iBX8_lWXO56d_VwL06KBuIr3VdqlqvBWcIh8G/s200/6.jpg" width="159" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.thoc.org.cy/production-contact/elena-chatziayksenti,17180,3273,en" target="_blank">Elena Chatziayksenti (Bolette)</a></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">Bolette
is the older sister, and plays that role in the family; she keeps telling Hilde
off, to no avail and to her own frustration, has gotten used to being spat at,
and her reaction to it is more weary than angry. She runs the household, with
little help from her younger sister, who has learnt well to do jobs she has
been asked to do badly so as not to be asked again. Just as Hilde shows her
suppressed anger in the stomping up the stage, Bolette can hardly contain,
physically, her excitement at the prospect of liberation from the restricted
life she has, the prospect opened up by her former tutor, Arnholm, taking her
on journeys across the world. In this production, her decision to accept
Arnholm’s proposal of marriage comes quickly, and it is not as painful as it
could be directed and played. She will get him to become more flexible and less
rigid (and in that rigidity slightly ridiculous). A quick, spontaneous and very
intense kiss on the mouth, which she initiates and to which he responds fully,
and with happy surprise, completes the impression of a good match. </span></span></div>
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<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/AVvXsEiIDSmXWBaVer-TvYwRukUuQewl9UIYXekX_SJw0xJXlKsmxRHJNaG3r2r_z1jy1cZaAoGBLMKt6Zt0Jth9RnJPadTEyewt0sKogIeQEP_yVYkiMRCUHCAB0jE7t0mJ3YAvJz19lZw0zeOL/s1600/7.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="521" data-original-width="567" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIDSmXWBaVer-TvYwRukUuQewl9UIYXekX_SJw0xJXlKsmxRHJNaG3r2r_z1jy1cZaAoGBLMKt6Zt0Jth9RnJPadTEyewt0sKogIeQEP_yVYkiMRCUHCAB0jE7t0mJ3YAvJz19lZw0zeOL/s200/7.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.thoc.org.cy/production-contact/styliana-ioannoy,17186,3273,en" target="_blank">Styliana Ioannoy (Hilde)</a></td></tr>
</tbody></table>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;"></span></span><span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">Hilde
is portrayed in part as a stroppy teenager, youthfully cheerful, but at the
same time prone to moods—when she fights with her sister, she tends to spit in
her face, and on one occasion she playfully hops from the ramp to the back of
the stage with a ferocity that is indicative of the anger under the surface. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">Hilde
is youthfully flirting with Lyngstrand, and he with her. A check-up by Dr Wangel
had revealed that Lyngstrand is ill beyond recovery, in the long run. The way
he was presented in this production does not dwell on his frailty: on one
occasion he is exhausted from a long walk, but that is cause for amusement for
the other characters, and the audience, rather than cause for obvious concern. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "Times New Roman",serif; font-size: 14.0pt;">The
stranger, who represents, foregrounds and personifies Ellida’s relationship
with the sea, is a bearded sailor—more of a projection surface for Ellida’s
imagination than in any way a superhuman creature. He is certainly not endowed
with the charisma of a Flying Dutchman. Ballested is an established
artist-painter, the kind Lyngstrand might aspire to become, with artistic
inspiration, well-meaning, well-intentioned, but of a provincial, if harmless,
narrow-mindedness. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-88061028070142855972017-09-30T12:50:00.001+01:002017-09-30T12:50:09.698+01:00Ambiguity and Balance in One-Person Shows<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal">
In some one person shows, it is clear that an actor is presenting
a text, is playing a character created by someone else, such as David Bamber
playing a character in Alan Bennett’s <i style="mso-bidi-font-style: normal;">Talking
Heads</i>. The character thus created is either fully fictional, or based on a
real-life person. That real-life person may be unknown to the audience, or may
be well-known to the audience, even famous. The real-life person may, finally,
be still alive, or already dead. In some cases, the author of a one-person show
performs the fictional character or the real-life character him or herself,
either with the support of a dramaturg and / or a director, or not. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In other one-person shows, the actor presents a character who
is based on the dramatist’s own life, or the actor is also the dramatist and presents
a character who is based on his or her own life. In those two cases, the
audience either knows about the autobiographical dimension, or not. They know
because the announcement of, or marketing for the production, or a media
review, provides a clue, or because they know the actor or dramatist in person. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The autobiographical material from the dramatist and / or
the actor in a one-person show relates to the authenticity of that material,
and to the question where the dramatist and / or actor have exercised poetic
license, have added to, have mollified, intensified, glamourised, or otherwise
changed facts for dramatic-artistic purposes. The challenge for dramatists and
actors is to create ambiguity or a balance between likeable and unlikeable features
of their characters. Creating a character who is exclusively likeable is
tremendously difficult as long as drama is still considered as an art form that
needs conflict to function and thrive. A book chapter of mine on conflict in
drama is currently under consideration for publication and I will link it here
once published. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A character may be ambiguous at best at the start, with some
areas of potential for being likeable. If such a character ends up as exclusively
unlikeable, especially where the potential of likeability is denied, audiences
may well feel uncomfortable in that character’s presence. Ambiguity between, or
balance of likeable and unlikeable characteristics, provide food for thought.
Having to spend the usual 50-70 minutes of a one-person show in the presence of
an exclusively nasty kind of creep is particularly uncomfortable if the
spectator could be led to assume that we get to see into real areas of the
dramatist’s or actor/dramatist’s life that we would really not like to know as
much about as we are being offered. There is then no aesthetic pleasure of any
kind, and no food for thought, just the feeling of discomfort for no purpose. </div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-39547066772507423852017-07-01T14:27:00.000+01:002017-07-01T14:27:53.581+01:00The (Opera) Masteclass and the Heart<!--[if gte mso 9]><xml>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Many conservatoires across the world offer masterclasses as part of the
education of their students, and many of those are open to the public, at low
ticket cost, or free of charge. The master class teachers are artists in the
field who have established their high level of ability beyond reasonable doubt;
in many cases, they may be beyond the peak of their own performance career,
allowing them time to expand into teaching. In this post I focus on opera
master classes, as I have attended a number of these as a member of the
audience. I expect that some of my observations can be transferred to
masterclasses for instrumentalists. </span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">In terms of arrangement, a master might visit a conservatoire to work
with a selected number of students. Often, six students in a three-hour session
get up to 30 minutes to work with the master, on one or two pieces (song or
aria) they will have chosen and practiced with the piano accompanist
beforehand. In many cases, the accompanist is a fellow-student. There is
probably a very tough selection process for many students interested in being
involved in a master class, and students are on record emphasising the honour
it is for them to be selected, and how much they practice for the event. There
are exceptions here, of course: at one masterclass I attended, the master
concluded the session with one singer by asking bluntly (more saddened than
annoyed) whether he was prepared to admit that he had not put in many hours of
rehearsal with his accompanist, and the student did admit this. In other
scenarios, young singers would attend a residence of several days with a
master, again following a selection process. Those masterclasses are
predominantly private, with a public showcase of masterclass and concert
recital at the end of a week or two. </span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">There is a certain etiquette around masterclasses: the student presents
the rehearsed song or aria uninterrupted, while the master listens and observes
closely. The master and audience applaud, then the master addresses aspects of
technique and interpretation, often together. At the end, the student sings
(part of) the song or aria again, and in all cases I have observed live or on
video, the singer’s performance is much better after having taken on board the
master’s advice. </span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Research into the masterclass has covered aspects of expertise,
apprenticeship, etiquette, embodied pedagogy, the master’s experience and
personal authority, the impact of the students’ experience, gender and level of
study on their evaluation of a masterclass, and general views of students about
their experience. </span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">In a recent publication, “<a href="http://annals.ub-filosofie.ro/index.php/annals/article/view/243/227" target="_blank">Towards a Theatre of the Heart</a>” I explored the heart in relation to
spirituality in general terms, and then considered the relevance of the
insights of that exploration for theatre and performance practice. I coined the
phrase <i style="mso-bidi-font-style: normal;">theatre of the heart</i>, and
provided an analysis of its manifestations with reference to non-linear
performance (Baumgartner’s <a href="https://www.youtube.com/watch?v=SiZCaEOLla8" target="_blank"><i style="mso-bidi-font-style: normal;"><u>Catch me if you can: Euridice 2012 Reloaded</u></i></a> and Mike Pearson/Mike Brookes <i style="mso-bidi-font-style: normal;">Iliad</i>), atmosphere (Peter Brook), love
(<a href="http://dmd27.blogspot.co.uk/2017/04/zoo-indigos-no-womans-land-journey.html" target="_blank">Zoo Indigo</a>), and wisdom and age (<i style="mso-bidi-font-style: normal;">Much
Ado About Nothing</i>, with Vanessa Redgrave and James Earl Jones, 2013). The purpose of this
consideration was to re-assess the nature of the experiences of creating
theatre and of watching a performance in a way that does not seek to reduce it
to brain activities, but allows a wider perspective that in turn can be shown
not to rule out the dimension of brain activity as mutually exclusive.</span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">From my experience of live masterclasses, they work best when the
master teaches with an open heart.</span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Times,"Times New Roman",serif;"><b><span style="color: blue;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Bibliography</span></span></b></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Atkinson,</span><span style="mso-fareast-language: EN-GB;"> </span><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Paul, Richard Watermeyer & Sara Delamont.
2013. <span style="mso-bidi-font-weight: bold; mso-font-kerning: 18.0pt;">Expertise,
authority and embodied pedagogy: operatic masterclasses. <i>British Journal of Sociology of Education</i> 34 (4): </span></span><span style="mso-bidi-font-size: 12.0pt;">487-503.</span></span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;"><span style="mso-bidi-font-size: 12.0pt;">Bærenholdt, Jørgen Ole, Jonathan Everts, Brynhild Granås, Nicky Gregson
& Ruth L. Healey. 2010. </span><span style="mso-bidi-font-family: AdvPS6F00; mso-bidi-font-size: 12.0pt;">Performing Academic Practice: Using the Master
Class to Build Postgraduate Discursive Competences. </span><span style="mso-bidi-font-family: AdvPS6F0B; mso-bidi-font-size: 12.0pt;"><i>Journal of
Geography in Higher Education</i> 34 (2): 283-298. </span><a href="http://dro.dur.ac.uk/10408/1/10408.pdf"><span style="mso-bidi-font-size: 12.0pt;">http://dro.dur.ac.uk/10408/1/10408.pdf</span></a><span style="mso-bidi-font-size: 12.0pt;"></span></span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;"><span style="mso-bidi-font-size: 12.0pt;">Creech, Andrea, Helena Gaunt,
Sue Hallam, Linnhe Robertson</span>. 2009. <span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-bidi-font-weight: bold;">Conservatoire
students’ Perceptions of Masterclasses</span><span style="mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">. </span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 12.0pt;">British Journal of Music Education</span></i><span style="mso-bidi-font-size: 12.0pt;"> 26 (3): 315-331.<span style="mso-spacerun: yes;"> </span></span><a href="http://eprints.ioe.ac.uk/6276/1/Creech2009Conservatoire315.pdf"><span style="mso-bidi-font-size: 12.0pt;">http://eprints.ioe.ac.uk/6276/1/Creech2009Conservatoire315.pdf</span></a><span style="mso-bidi-font-size: 12.0pt;"></span></span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;"><span style="mso-bidi-font-size: 12.0pt;">Hanken, Ingrid Maria and Marion
Long. <i style="mso-bidi-font-style: normal;">Master classes – What do they
offer? </i></span><span lang="DE" style="mso-ansi-language: DE; mso-bidi-font-size: 12.0pt;">Oslo:<span style="mso-spacerun: yes;"> </span>NMH-publikasjoner 2012:8. </span><a href="https://brage.bibsys.no/xmlui/bitstream/handle/11250/172653/Hanken_Long_2012.pdf?sequence=1&isAllowed=y"><span lang="DE" style="mso-ansi-language: DE; mso-bidi-font-size: 12.0pt;">https://brage.bibsys.no/xmlui/bitstream/handle/11250/172653/Hanken_Long_2012.pdf?sequence=1&isAllowed=y</span></a><span lang="DE" style="mso-ansi-language: DE; mso-bidi-font-size: 12.0pt;"></span></span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;"><span style="mso-bidi-font-size: 12.0pt;">Lalli, Richard. 2004. Master
Plan. <i style="mso-bidi-font-style: normal;">Opera News</i> 69(1): 24-26.</span></span></span></div>
<span style="font-family: Times,"Times New Roman",serif;">
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Long, Marion,
</span><a href="http://journals.sagepub.com/author/Hallam%2C+Susan"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; text-decoration: none; text-underline: none;">Susan Hallam</span></a><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">, </span><a href="http://journals.sagepub.com/author/Creech%2C+Andrea"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; text-decoration: none; text-underline: none;">Andrea Creech</span></a><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">, </span><a href="http://journals.sagepub.com/author/Gaunt%2C+Helena"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; text-decoration: none; text-underline: none;">Helena Gaunt</span></a><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">, </span><a href="http://journals.sagepub.com/author/Robertson%2C+Linnhe"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; text-decoration: none; text-underline: none;">Linnhe Robertson</span></a><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">. 2011. <span style="mso-bidi-font-weight: bold; mso-font-kerning: 18.0pt;">Do prior experience, gender, or level of study
influence music students’ perspectives on master classes? P</span></span><i><span style="mso-bidi-font-size: 12.0pt;">sychology of Music</span></i><span style="mso-bidi-font-size: 12.0pt;"> 40(6): 683 – 699.</span></span></span></div>
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306. </span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="font-size: small;"><span style="color: blue;">Meyer-Dinkgräfe, Daniel. </span></span><span style="color: blue;"><span style="font-size: small;">2017. "<a href="http://annals.ub-filosofie.ro/index.php/annals/article/view/243/227" target="_blank">Towards
a Theatre of the Heart</a>", <i>Annals of the University of Bucharest:
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Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-48119388736814349802017-05-31T16:47:00.000+01:002017-05-31T16:47:04.881+01:00The German primary and secondary school systems, 1960s and 1970s<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Now that my daughter Lilwen has completed two of four weeks of GCSE exams, with 26 exams across 9 subjects, I would like to reflect
on and share memories of my school education. The memories are also
lively because of a reunion of our class 40 years after we graduated from
secondary school, which took place in late April.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Primary school started at age six, with four years. In my
case, two years were conflated into one, so that I had three years of primary
school, covering the syllabus of four years. At the end of primary school, the teachers sat together with
parents on a 1:1 basis and discussed the progression path for the pupils, with
three choices: Hauptschule, Realschule and Gymnasium, depending on student
ability and profile. I remember that for me, progression to Gymnasium was never
in doubt, and I also remember my first experience of the problems with this
differentiation: I had mentioned in passing to a girl in my class, whom I liked
at the time, that I was looking forward to being in Gymnasium with her; she
looked at me very sadly and said that she was going to continue to Hauptschule:
“You see, Daniel, I am not as clever as you are”. I had never considered the
possibility of making judgments on the basis of “clever”. </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Secondary school started in year 5, and lead all the way up
to year 13. In years 5-10, all pupils of a cohort, i.e., who had started in
year 5 in the same calendar year, were taught in three permanent groups,
classes, of up to 30 pupils each. The years were named in Latin. The lower
grade consisted of years 5,6,7, called Sexta, Quinta and Quarta. The middle
grade consisted of years 8,9,10, called Untertertia, Obertertia and
Untersekunda. The upper grade consisted of years 11,12, and 13, called
Obersekunda, Unterprima and Oberprima. Our school had its own upper grade system,
and my cohort was the last cohort allowed to graduate from this gymnasium with
its own system. While at other schools, pupils in years 11,12 and 13 abandoned
the core class system in favour of coming together only as cohorts of
subject-specific courses, in our system the core class cohorts remained across
years 11,12, and 13. In those core cohorts we remained for core subjects,
Language (Latin or English), Maths, German (with three 50-minute lessons per
week) and History, with Philosophy in year 13 and Geography in year 12 (with
two 50-minute lessons per week). In addition to the core subjects, we had to
select one main optional subject with the highest number of lessons per week
(four), and at least one secondary option, with the same amount of lessons per
week as in the core subjects (three). I chose biology as main option, and
German/Theatre, French, English and Chemistry as secondary options. </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Two core
cohorts were added to the three that had been in existence since year 5, made
up of students from the Realschule schools in the area deemed “clever” enough
to progress to Gymnasium. They were not integrated into the existing cohorts,
but became two core cohorts in their own right, and had to struggle against
discrimination because of their “difference”. The school made sure that
teachers perceived to be particularly good and fair were selected where
possible as their core subject teachers. For the main and secondary options,
students from all five groups were mixed. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">In years 5-10, examination took place through regular
written assessments under exam conditions in each subject, with a certain set
number of such assessments in each half year, but arranged only by the teacher concerned,
and marked only by that teacher, without co-marking by colleagues or external
input. The marks received on those assessments were then averaged and if
between two marks, the contribution to class discussion was added to the
weighting. The marks for each subject were then formalised in a report card in
January/February and in June/July. The marks on the June/July report card
determined whether a pupil could progress into the next year, or had to retake
a year, moving down to the relevant cohort. Each year, each group would thus
get repeaters from the year above. Marks ranged from 1(very good) via 2 (good),
3 (satisfactory), 4 (sufficient), and 5 (inadequate) to 6 (insufficient). A
mark of 5 in two subjects, or a mark of 6 in one subject would count as grounds
for a pupil to have to repeat the year. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">In the first half of year 11, teaching in the core subjects
continued normally, while the rest of allocated hours was given over to tasters
of the option choices on offer. Each pupil could opt for a maximum of six of
those tasters, which were taught by the teachers who would also take on those
subjects for good for that cohort. At the end of the first half of year 11,
pupils made their choice of optional subjects to continue. In the 2<sup>nd</sup>
half of year 11, options were taught at full workload, but none of all year 11
marks counted towards the Abitur, the general qualification for university
entrance. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">In years 12 and 13, core subjects were taught in the
established groups of pupils, each with their dedicated class teacher, in their
dedicated classroom. For lessons in the main and secondary options, pupils went
to the classrooms allocated to the options. Assessment for core and option
subjects were in centrally timetabled assessments, two per half-year. The marks
for each half-year report card were arrived at in the same way as before,
averaging the assessment marks and adding the oral contribution where needed.
In the 2<sup>nd</sup> half of year 13, one set of assessments followed the procedure
established for years 12 and 13, followed by the main Abitur exams, which were
longer (6 hours compared with four hours across years 12 and 13). For each
subject, an average of all year 12-13 report card marks (two for year 12 and
one for year 13) was further averaged with the marks of the 1<sup>st</sup> set
of assessments from the 2<sup>nd</sup> half of year 13, and the resulting mark
was finally averaged with the mark achieved in the Abitur exam proper. The
Abitur-exam was double-marked internally. The entire body of teachers then
discussed the marks profile for each pupil before finalising the final mark. Sometimes, pupils would be invited to an oral exam, and improving marks in an
oral exam was also an option for pupils. </span></span></div>
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<br /></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">To give an example, my profile in
maths was: </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 12 assessment 1: 1</span></span></div>
<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 12 assessment 2: 3</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 12 report card mark for the first half year: 2</span></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 12 assessment 3: 3</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 12 assessment 4: 4</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 12 report card mark for the 2<sup>nd</sup> half year: 3</span></span></div>
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<br /></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 13.1 assessment 1: 4</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 13.1 assessment 2: 3</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 13.1 report card mark for the first half year: 3</span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 13.2 assessment 3: 2</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Years 12 and 13.1 average: 3</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Combined years 12/13 average (3) and year 13 2<sup>nd</sup> half averagec(2): 3</span></span></div>
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;"></span></span><br />
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Year 13 Main Abitur exam: 4</span></span></div>
<br />
<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Average of combined years 12,13 (3) and Abitur exam (4), and thuis final Abitur mark: 3 (taking into account
the fact that several of the previous averages were rounded up rather than
down). </span></span><br />
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<span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;">Sadly, we were the last cohort following this system. Our
head teacher lost his battle against the politician-bureaucrats in charge, who
made sure that after his retirement, his successors never had his kind of
intellectual power, but were good at pushing through orders from above… </span></span></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-36600773875946918552017-05-03T08:22:00.000+01:002017-05-03T08:26:34.482+01:00Opera in crisis?<!--[if gte mso 9]><xml>
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<span style="color: blue;"><span style="font-family: "cambria" , serif; font-size: 14.0pt;">Every now
and then, art forms are considered as undergoing a crisis. Those who make that
diagnosis are usually critics for the media or from an academic background. In
2015, Detlef Brandenburg, editor of the German <a href="http://www.die-deutsche-buehne.de/" target="_blank">Die Deutsche Bühne</a>,
published twelves statements about the current state of affairs of the art form
of opera, with focus on the German scene, with its opera houses and opera
sections at multi-section theatres. <i style="mso-bidi-font-style: normal;"> </i></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh29p1J-mi6NDoh1EGaF6iR8ojwzjcADXAIGl5GjBj-6QHGH0kQpCVS1bjG_vimLAdKhzriNm3uPk8V_Yu-Orxd5vWIVo85VLnzjfusc0ffCLL5eBy_p6Bvir4TtUMhn0SuM3twwsYpQf8b/s1600/o1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh29p1J-mi6NDoh1EGaF6iR8ojwzjcADXAIGl5GjBj-6QHGH0kQpCVS1bjG_vimLAdKhzriNm3uPk8V_Yu-Orxd5vWIVo85VLnzjfusc0ffCLL5eBy_p6Bvir4TtUMhn0SuM3twwsYpQf8b/s1600/o1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.die-deutsche-buehne.de/Service/Kontakt/Redaktion" target="_blank">Detlef Brandenburg</a></td></tr>
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<span style="color: blue;"><span style="font-family: "cambria" , serif; font-size: 14.0pt;"><i style="mso-bidi-font-style: normal;">Brandenburg
argued that many new operas are being composed and staged; however, hardly any
are taken up again at other opera houses after their premiere productions. Thus,
these operas do not become known to a wider opera audience, and the composers
do not get a chance to develop their work further to gain experience for future
compositions.</i> </span></span></div>
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<br /></div>
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<span style="color: blue;"><span style="font-family: "cambria" , serif; font-size: 14.0pt;">Conventional, canonical opera has attracted its audience
because of very specific characteristics. These include a very emotion-laden
plot, and, most importantly, beautiful music and singing. Many tunes, melodies
or arias from canonical operas have become well-known because of their beauty.
For some reason, contemporary composers seem to be developing a different
understanding of musical beauty, which has not yet caught on widely, or they go
against the canonical concept of beauty, or they are not trained or capable of
creating beautiful sounds. I have not yet found a convincing argument in this
context, but I find hardly any of contemporary opera music or singing beautiful.
I am therefore not surprised that opera houses do not often revive new operas,
and I admire the courage of artistic managers to invite new work to be created
in their houses if they can predict that the result will not sound beautiful.</span></span></div>
<span style="color: blue;">
</span><br />
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<span style="color: blue;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "cambria" , serif; font-size: 14.0pt;">Brandenburg refers to potentially problematic
assumptions that audiences tend to be conservative, and actually happy with an
apparently never-changing status quo of conservative productions of a
conservative repertoire. Artistic managers therefore hesitate to introduce too
much by way innovation, both in terms of innovative productions of the core
repertoire and introduction of new work.</span></i><span style="font-family: "cambria" , serif; font-size: 14.0pt;"> </span></span></div>
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<span style="color: blue;"><span style="font-family: "cambria" , serif; font-size: 14.0pt;">As far as innovative productions are concerned,
they can be refreshing and interesting, but they are very rare. The reason that
many productions of the <i style="mso-bidi-font-style: normal;">Regietheater</i>,
director’s theatre, however, may be problematic is that they just do not make
any sense in relation to the music and the libretto. Directorial concepts then
come across, at best, as inconsequential and as such they do not distract much from the music.
I remember an interview with conductor Peter Schneider where he talked about a production
of Wagner’s <i style="mso-bidi-font-style: normal;">Götterdämmerung</i>. In one
of the scenes in which the three Norns weave the rope of Destiny, the music is
fairly dramatic. However, the scene had been directed with the Norns sitting
down doing some knitting. Schneider showed some despair in his comment that it
is simply impossible to conduct the dramatic music of this scene as “knitting
music”. </span></span></div>
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<span style="color: blue;"><span style="font-family: "cambria" , serif; font-size: 14.0pt;">At worst, unfortunate directorial choices or concepts are downright
annoying, constituting obstacles to the enjoyment of the performance, and to
the achievements of the musicians. As with theatre, there is no objection to
innovation in principle. If it works well, it can be great, as with Thomas
Ostermeier’s 2005 production of <i style="mso-bidi-font-style: normal;">Hedda
Gabler</i>, that I still consider as the best example of a very successful
contemporary approach to a canonical play text. I have not yet encountered an
opera production quite reaching the consistency of narrative of that Ostermeier
production. I have commented extensively on that production, and have <b><a href="http://dmd27.blogspot.co.uk/2017/05/hedda-gabler-schaubuhne-berlin-2005.html" target="_blank">posted that comment</a></b> separately for reference. </span></span></div>
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<![endif]-->Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-2196225760977794212017-05-03T08:18:00.001+01:002017-05-03T08:18:33.395+01:00Hedda Gabler, Schaubühne Berlin, 2005<div class="separator" style="clear: both; text-align: center;">
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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" Priority="0" 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" 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" 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="0" SemiHidden="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"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<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" 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" Name="Table Grid"/>
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<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"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<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"/>
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<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"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
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<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"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 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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<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"
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<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"/>
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<div class="MsoNormal">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">From Daniel Meyer-Dinkgräfe
(2013): </span><i style="mso-bidi-font-style: normal;"><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Theatre,
Opera and Consciousness: History and Current Debates</span></i><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;"> Amsterdam: Rodopi, 85-92</span></div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;"> For the Schaubühne
production of <i style="mso-bidi-font-style: normal;">Hedda Gabler</i>, which
premiered on 26 October 2005, and has been revived on tour until 2013, director Thomas Ostermeier selected the German
translation of the play by Hinrich Schmidt-Henkel, a renowned translator of
novels and plays, and frequent host, for radio, TV and theatre, of literary and
cultural discussion events. The translation had been premiered at the Theater
Basel in 2003. </span></div>
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<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/AVvXsEgZbmzPSoj4momrkQgnZk0j9r7fURenb-YRpew3pXYdI0rgZflEnn0tD0tE5DFxdL4B04wb_Ye51SxEhzaCI0L5l-GweG4TeRAjP264fql9VB6Dvg7-PmTPXHmNQ7CM6jTQyMhq9IRopuET/s1600/h1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZbmzPSoj4momrkQgnZk0j9r7fURenb-YRpew3pXYdI0rgZflEnn0tD0tE5DFxdL4B04wb_Ye51SxEhzaCI0L5l-GweG4TeRAjP264fql9VB6Dvg7-PmTPXHmNQ7CM6jTQyMhq9IRopuET/s200/h1.jpg" width="200" /></a><a href="http://www.festival-avignon.com/en/artist/2015/thomas-ostermeier" target="_blank"></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.festival-avignon.com/en/artist/2015/thomas-ostermeier" target="_blank">Thomas Ostermeier</a></td></tr>
</tbody></table>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Ostermeier had premiered the Schmidt-Henkel translation of
Ibsen’s <i style="mso-bidi-font-style: normal;">A Doll’s House</i> at the
Schaubühne Berlin in 2002, and used Schmidt-Henkel’s translation of <i style="mso-bidi-font-style: normal;">The Master Builder</i> for his production of
the play in 2004 at the Vienna Burgtheater. In later years, Schmidt-Henkel
translated <i style="mso-bidi-font-style: normal;">John Gabriel Borkman</i>
(2005, Schauspielhaus Zürich, directed by Barbara Frey), <i style="mso-bidi-font-style: normal;">Rosmersholm</i> (2006, Staatstheater Nürnberg, directed by Stefan
Otteni), and <i style="mso-bidi-font-style: normal;">An Enemy of the People </i>(2008,
Theater St Gallen, directed by Martin Schulze). The dramaturg for Ostermeier’s
production of <i style="mso-bidi-font-style: normal;">Hedda Gabler</i>, German
dramatist Marius Mayenburg, worked with the production team on further updating
the text.</span></div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Mayenburg has an acute ear
for the way contemporary Germans speak: his way of rendering Ibsen’s text makes
it as characteristic as possible of everyday German of the middle of the first
decade of the 2<sup>nd</sup> millennium. This applies in particular to the
characters’ low key, understated responses to each other. When Hedda tells her
husband that she is pregnant, he has his head in her lap. </span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/aWPITLxp7vw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/aWPITLxp7vw?feature=player_embedded" width="320"></iframe></div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">On hearing the news,
he sits up and stares at Hedda in disbelief, takes his hands off her knees and
moves away from her, uttering “Nee, oder?” “Nee” is a colloquial form of
“Nein”, “no”, accompanied by an ever so slight shaking of the head. He moves
away further from Hedda, while still looking at her. She does not react at all
to his question. He turns his head away from her, and supports his left elbow
on his knee and wipes his head with his left hand, accompanied by heavy sighs
and a facial expression that demonstrates how deeply moved he is, close to
tears. He briefly rests his chin in his hand, then turns again to Hedda, and
stretches out his right hand to touch her belly. He turns away from her again
with the words, again accompanied by tearful sighs: “Das gibt’s doch nicht”.
[That’s impossible!] Then he bursts out into a howl, crying, wipes his face,
howls again, jumps up, and moves to open the glass patio doors that lead to the
outdoors patio. There he howls again, longer, accompanied by further jumping
and shaking of his arms. Hedda comments this with expressions of disbelief and
says: “Gott, ich bring mich noch um. All das hier bringt mich noch um”. [God,
I’m going to kill myself. All this here is going to kill me]</span></div>
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<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/AVvXsEihbdl8gWkEjSBAA0ttOT7YdYN52gcLfU3XINy6dTAtFRXPg_fI6YTLEYuK6MlXmImxZwC5GTOFOMGRneFTSdNdwq6A63Bo0OjdO6Od9F30p2LC8FqhmKMnjIq4Fx7SuBXFie_OY8E-2nc8/s1600/h6.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihbdl8gWkEjSBAA0ttOT7YdYN52gcLfU3XINy6dTAtFRXPg_fI6YTLEYuK6MlXmImxZwC5GTOFOMGRneFTSdNdwq6A63Bo0OjdO6Od9F30p2LC8FqhmKMnjIq4Fx7SuBXFie_OY8E-2nc8/s320/h6.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><a href="http://www.schaubuehne.de/en/productions/hedda-gabler.html" target="_blank">Hedda Gabler</a></i></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Juliane Tesman, Jørgen
Tesman’s aunt, has been transposed successfully into the 21<sup>st</sup>
century as well. She is in her mid-sixties, and comes across as a
representative of a middle class woman who has retired from a moderately
successful career, perhaps as a teacher, and who now enjoys her retirement, by
looking after people who need looking after, by reading her monthly fashion
magazine to which she subscribes; she will also have her subscription to the
local opera and theatre company, and participate, on an annual basis, in
high-brow, educational trips to places of cultural interest, and have a good
amount of lady-friends and acquaintances with similar socio-economic and
educational profiles. She has selected for her visit to Tesman’s house, on the
return of the newly-weds from their lengthy honeymoon, a smart-casual outfit,
of which the new hat is one integral part. It is not the kind of hat a woman
without taste for fashion, or without money, would buy, and is thus not in
itself ridiculous, or otherwise out of place in relation to her outfit, quite
the contrary. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">In comparison with
productions in which the hat represents Aunt Juliane’s somewhat desperate
attempt to “fit in” and to impress Hedda, the context established in
Ostermeier’s production provides a new perspective on Hedda’s spiteful comments
on Aunt Juliane’s hat as belonging to a servant: in the conventional scenario,
where the hat is indeed somewhat out of place, Hedda responds instinctively to
Juliane’s weakness: she senses and lashes out at it. In the Ostermeier
production, on the other hand, Hedda randomly selects the hat to comment on
because Juliane left it behind. Had it not been the hat, she would have made
her comment on any other item of her outfit. There is no weakness involved on
Juliane’s part, and her response is one of surprise rather than hurt, of
wondering at Hedda’s motivation for such unprovoked nastiness, rather than
feeling sorry for herself. </span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<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/AVvXsEjtzAqMWPy3ADD7gMDKnT893gTnwmotTl5VE84HRCioOY0rHX0hvWYp_-POLvN1NUN9AVkqf104igx-kOFqn5AQPHSJbOrsebufvPWUpBeEnkqYJSXz56kbrLKGeqMdhyIraWTKoLk6DtTS/s1600/h5.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtzAqMWPy3ADD7gMDKnT893gTnwmotTl5VE84HRCioOY0rHX0hvWYp_-POLvN1NUN9AVkqf104igx-kOFqn5AQPHSJbOrsebufvPWUpBeEnkqYJSXz56kbrLKGeqMdhyIraWTKoLk6DtTS/s320/h5.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.nytimes.com/2006/11/30/theater/reviews/30hedd.html" target="_blank"><i>Hedda Gabler</i></a></td></tr>
</tbody></table>
<div style="text-align: right;">
</div>
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<div class="MsoNormal">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">In many productions of <i style="mso-bidi-font-style: normal;">Hedda Gabler</i>, Judge Brack is cast with
an older actor, in view of Brack’s seniority in social and professional
position. In the Schaubühne production, Brack comes across as hardly much older
than Tesman (the actor of Brack, Jörg Hartmann, is seven years older than the
actor of Tesman, Lars Eidinger). The result is that the relationships between
Brack and Hedda, and Brack and Tesman, are quite different than if an older
actor had been cast as Brack. A younger Brack becomes a realistic rival to
Tesman for Hedda’s favours: it is more believable that Hedda could agree to an
extra-marital relationship with a younger Brack than with an older Brack, and
Brack’s advances thus represent more of a temptation for Hedda. A younger Brack
is attractive to her not only because he can talk cleverly, but also
physically, and because in comparison with her husband, Brack has achieved so
much more professionally, exudes so much more security, has so many more
influential acquaintances, and is so much closer to the world Hedda grew up in
as a general’s daughter, than Tesman can ever hope for, even if he gains his
professorship. </span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/5ZJjYhmxhDU/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/5ZJjYhmxhDU?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Thus Hedda’s decision not
to want to engage in an affair with Brack equally adds to the way this character
is depicted in Ostermeier’s production. In Brack she would have all the things
she desired, and which she is so frustrated of not having with Tesman. However,
she is also aware that Brack could have approached her for marriage before her
marriage to Tesman, and did not: he was not interested in her as a wife, and
may not be interested in any woman for marriage. He is interested in Hedda only
(but very much so) as a mistress, without obligations and commitments, but with
the added excitement of the forbidden, which as a judge he encounters on a
daily basis, and which fascinates him. Hedda knows that for Brack she will be
only one aspect of his life of pleasure without commitment, and she is
determined not to stoop to that position of inferiority. Hedda enjoys her
banters with Brack, where things are said in a witty, immediate response to a
preceding statement of the other party, without the contents of the responses
necessarily intended to be taken seriously by the other party, and not usually
taken seriously either. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">The way Katharina
Schüttler’s Hedda<i style="mso-bidi-font-style: normal;"> </i>clearly tells
Lövborg that hers is a marriage without love but also without betrayal,
suggests that this is one of the few things she is convinced about: it is not
the result of a vague, spoilt mood, not part of her banter with Brack. It is
serious, it is one of very rare instances where Hedda does something because
she has thought about it long and hard, and made that decision. Hedda does
other things quite clearly without making a conscious decision: they just
happen as immediate responses to various situations. Thus in an encounter with
both Tesman and Lövborg in the same room, she invites Lövborg to sit, on the
vast arrangement of sofas, very close to Tesman, and at a right angle to him.
She then walks over to Tesman at a suitable point in the conversation and bends
down and engages him in an extended French kiss that takes place at eye level
for Lövborg, within inches of his own face. </span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_nisaugNBKDChx8ch5-riSgr6fBH3xObQ6RM2UtUhjNZSzsjhw1b-Jyoz0XxWJ_4DA5RapFeMDm4b85YIqNtmNJIwADW22rmWHuBmsHOAowQ1JzJ93kDlSijOH9I19l2sZaqUXX-lOMRf/s1600/h3.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_nisaugNBKDChx8ch5-riSgr6fBH3xObQ6RM2UtUhjNZSzsjhw1b-Jyoz0XxWJ_4DA5RapFeMDm4b85YIqNtmNJIwADW22rmWHuBmsHOAowQ1JzJ93kDlSijOH9I19l2sZaqUXX-lOMRf/s320/h3.jpg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.schaubuehne.de/en/productions/hedda-gabler.html" target="_blank"><i>Hedda Gabler</i></a></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">The actor playing Lövborg, Kay
Bartholomäus Schulze, managed brilliantly, overall, to portray the
just-about-dry alcoholic, ever so fragile in his abstinence, ever so prone to
moods and depressions that might be considered as still part of the range of
withdrawal symptoms, and ever so close to the relapse into full-blown alcoholism
due to the mess of his personal life and his self-doubts about his abilities as
an academic. He is recognised clearly as a genius by Thea Elvsted, who has
served as his muse in inspiring the latest book, and by Tesman, who openly
admits that he is nowhere as inspired and original in his own thinking.
Lövborg, however, doubts his own abilities. Hedda also recognises the threat he
poses to Tesman’s career, and this plays one part in her on-the-spot decision
to destroy the manuscript. </span></div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">In Ostermeier’s contemporary version, however, it is
not a printed text, but exists only on the hard drive of a laptop, without
backup—so to destroy the manuscript, Hedda smashes the laptop with a hammer.</span><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;"> </span></div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Lars Eidinger develops the
image of a contemporary academic in his portrayal of Tesman. There are lots of
books around the corners of the set, as well as stacks of paper. He matches
Katharina Schüttler’s Hedda in the conversational, everyday use of language,
which has a limited range of ups and downs, and is thus close to monotonous; he
comes across as really very much, and indeed romantically, in love with his
Hedda. He sees her as a child, given that she is smaller than him, and younger,
with eyes that do not reveal much of what is going on inside her, and
attractive, pouting lips. Eidinger’s Tesman is a modern man, full of feelings,
and he cries on three occasions. There is the full outburst described above
when Hedda tells him that she is pregnant; he also cries when he has beard that
Lövborg is back and when he realises the threat that Lövborg might be to his
own prospects of a professorship: Tesman may be a dreamer, stuck in his books
and overall quite naïve, but he does realise that if Lövborg were to try to
seal his comeback with an application for the professorship that Tesman is
hoping to get, Tesman will have no chance in a competition with Lövborg. The
third time we see Tesman cry is when Lövborg convincingly assures Tesman that
he will not apply for the professorship, and that thus there is no more danger
for Tesman to lose the prospects of his professional advancement and indeed
future. The production’s emphasis on the crying man, Tesman, comes at a time
(first in 2005), when a study of audience response to the third part of the <i style="mso-bidi-font-style: normal;">Lord of the Rings </i>trilogy found that
among the audiences in a wide range of countries in Europe and beyond, the
highest percentage of men responding to the film with tears came from Germany. </span>
</div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">For the final scene of <i style="mso-bidi-font-style: normal;">Hedda Gabler</i>, Ostermeier has a striking
contemporary twist in store for his audience. The set design allows the
audience to see into several rooms in the Tesman home at the same time, either
directly, or indirectly through strategically placed mirrors. Tesman and Thea
Elvsted are busy recreating late Lövborg’s manuscript, with Brack in
attendance: he is not merely observing, but is clearly interested in the work,
and in observing how Tesman and Thea get closer to each other though their
joint mission of restoring Lövborg’s work of genius. This is the kind of work
that Tesman excels at: he and Thea inspire each other. Hedda is an outsider in
this scenario, nobody is interested in her any more, not even Brack. She moves
into the room next door, in full view of the audience, takes out the pistol,
looks at it, leans against the wall, puts the pistol to her temple and pulls
the trigger. Her head slumps to her chest, blood pours from her head, she
slowly sinks down along the wall to a sitting position, leaving a streak of
blood on the wall. Her hand still holds the pistol. Thea, Tesman and Brack hear
the sound of the shot. They hardly look up from their work. Tesman comments
that Hedda is playing around with those pistols again, implying that she has
done this before, and reminding the audience of an earlier scene where Hedda
took aim at a vase of flowers and shot it to pieces. They continue their work,
without bothering to go and see whether anything has happened to Hedda. She
lies in her blood, dead, while the others carry on with their work on the
manuscript. Tesman adds jokingly that perhaps Hedda has shot herself, and Brack
comments that people just do not do such things. This phrase, at the end of the
play, implies that Tesman’s joke is poor. </span></div>
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<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/AVvXsEi3yEjvlv6nS5D7o6B3LGv_2VWr9YqScfcfzaTI8OMcAmelyLUoiIxSjpMJB1x-GJEifPJgbU0lhA21IukSX-tnirF-gbXT1YiBBz1XFq7qF7xSmkRlb9-02RihlFgP-qaopdjCJg0mv6Uh/s1600/h9.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3yEjvlv6nS5D7o6B3LGv_2VWr9YqScfcfzaTI8OMcAmelyLUoiIxSjpMJB1x-GJEifPJgbU0lhA21IukSX-tnirF-gbXT1YiBBz1XFq7qF7xSmkRlb9-02RihlFgP-qaopdjCJg0mv6Uh/s200/h9.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.gettyimages.co.uk/detail/news-photo/deutschland-berlin-ort-schaubuehne-berlin-titel-hedda-news-photo/544303589#deutschland-berlin-ort-schaubuehne-berlin-titel-hedda-gabler-autor-picture-id544303589" target="_blank">Schüttler as Hedda in 2005</a></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/AVvXsEiqSxQve5T0zZnb9wP3jI34CDU7kac7IZyMfTFvNAeruW4dhNSxq1QmHqTAS25ndKqu5rAWgSLx4puehvZpwYIn_P5RaebPd3lq5lCSc0iWOBkVG02_4enu9PoXNf27Z-io0D8kIcH4y2kL/s1600/h8.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSxQve5T0zZnb9wP3jI34CDU7kac7IZyMfTFvNAeruW4dhNSxq1QmHqTAS25ndKqu5rAWgSLx4puehvZpwYIn_P5RaebPd3lq5lCSc0iWOBkVG02_4enu9PoXNf27Z-io0D8kIcH4y2kL/s200/h8.jpg" width="120" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://fomalhaut.over-blog.org/article-hedda-gabler-eidinger-schuttler-ostermeier-les-gemeaux-112933344.html" target="_blank">Katharina Schüttler as Hedda in 2012</a></td></tr>
</tbody></table>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">The critical response to
the production was overwhelmingly favourable. In many reviews, the most
striking aspects of the story told by the production are re-told by the
critics, as examples of the success of the play’s transposition into the 21<sup>st</sup>
century. Tesman’s catch phrase “Ich glaub’ das jetzt nicht” [I just don’t
believe this now] is noted, as is Hedda’s terror at the combination of Tesman’s
red house shoes, Tesman’s petit-bourgeouis homeliness, and his primordial
scream of happiness at finding out that Hedda is pregnant (Tilmann 2005).
Several reviews note Hedda’s young age—the actress, Katharina Schüttler, was
twenty-six when she first played Hedda in 2005. Gardner in the <i style="mso-bidi-font-style: normal;">Guardian</i> calls her a “damaged child”, a
child-woman who is “trapped in her vast, minimalist, glass-walled apartment”
(2008). Others comment on her fragile, slim body (Kohse 2005), referring to it
as that of “a 14-year old” (Swann n.d.), and compare her young Hedda with the
more mature nature of Hedda as portrayed by Isabelle Huppert or Corinna
Kirchhoff (Tilmann 2005). </span></div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Hedda’s physicality
attracts further attention when Isherwood reports that she “does not stand if
she can slouch, and does not slouch if she can drape herself across the long
modular couch like a bored housecat” (2006). The feline nature of Schüttler’s
Hedda is equally central in a review that describes her first entrance thus:
“We see this Hedda enter in her pyjamas with a naked midriff, looking just like
one of today’s sulky, pre-teen, sex kittens” (Swann n.d.). Bassett in <i style="mso-bidi-font-style: normal;">The Independent</i> writes in a similar
vein: “A skinny little thing with a touch of feral cat about her—not fully
domesticated—she looks skeletally fragile but sexually assured and surly”
(2008). Charles Spencer in the <i style="mso-bidi-font-style: normal;">Telegraph</i>
finds it amazing how not only the “spoilt young wife”, but also the </span></div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">nerdish husband (…) the alcoholic genius and the manipulative
lawyer seem just at home in the 21<sup>st</sup> century as they did in the 19<sup>th</sup>.
This is still emphatically Ibsen’s play but it also taps directly into the
spirit of our own times—the moral equivocation, the curse of addiction, the
sense of rootlessness, boredom and depression. (2008)</span></div>
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<br /></div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Tilmann emphasises that the
way Katharina Schüttler says Hedda’s phrase “I am so bored” implies that all
her life has been boring so far, and that she does not expect any real change
to that state of affairs. Bassett agrees that Schüttler’s Hedda is “a horribly
recognisable, 21<sup>st</sup>-century enfant terrible: materially indulged yet
dissatisfied, already jaded and alarmingly amoral.” (2008)</span></div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">This Hedda, Tilmann
continues, is as much a woman looking for greatness (and not recognising it in
Lövborg’s excessive nature) as a child that wishes for the moon (2005). Tilmann
thus acknowledges an apparent reason for Hedda’s inability to break out of her
cage. While the Hedda of Ibsen’s original was stuck because of the limitations
society imposed on a woman in her time, Ostermeier’s Hedda is stuck because she
is small and cowardly. She has chosen security, she shuns risks and scandal
because of her fear; in this insecurity she is representative of her
generation, and it is indeed—unnecessary—fear that is a major concern in the
life of actress Katharina Schüttler: a life without fear is her highest dream
(Böckem 2010). Spencer commends Kay Bartholomäus Schulze, whose Lövborg
captures “all the agony and self-loathing of a reformed alcoholic falling
spectacularly off the wagon” (2008). </span></div>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Not all critics were
convinced that the production’s transposition into the 21<sup>st</sup> century
worked. Charles Isherwood, writing in the <i style="mso-bidi-font-style: normal;">New
York Times</i>, found much to praise in the production, but concluded that “Mr
Ostermeier’s cool and considered “Hedda Gabler” comes a little too close to
proving the truth of that platitude used as a prim remonstrance to children
whining to be entertained: that bored people are boring people” (2006). Bassett
does not believe that genius Lövborg will not have made a backup or printed off
a hardcopy of his masterpiece (2008), and Stasio argues that the men in Hedda’s
life, “deprived of the 19<sup>th</sup>-century social privileges that would
have blinded them to Hedda’s subtle wiles, (…) just seem uncommonly stupid”
(2006).</span></div>
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<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/AVvXsEjRrRc5BQIUiDZJELkO1Xg_dmOS730WIcIf7Gjt1_JDlbv1j0N00CBgBdCm8uFlWVQVTvvqyUoJPBLfkgGDBouMwODAY9xKuhWg6uDLty9jH_ilvomL04JphsZ4S74lkkGs7LeihxdKWnZz/s1600/h7.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRrRc5BQIUiDZJELkO1Xg_dmOS730WIcIf7Gjt1_JDlbv1j0N00CBgBdCm8uFlWVQVTvvqyUoJPBLfkgGDBouMwODAY9xKuhWg6uDLty9jH_ilvomL04JphsZ4S74lkkGs7LeihxdKWnZz/s320/h7.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><a href="http://www.irishtimes.com/culture/culture-shock-why-hedda-gabler-ain-t-messing-with-no-broke-norwegians-1.2171915" target="_blank">Hedda Gabler</a></i></td></tr>
</tbody></table>
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<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Despite those few concerns,
for Ostermeier’s production of <i style="mso-bidi-font-style: normal;">Hedda
Gabler</i>, the transposition into the 21<sup>st</sup> century works, overall,
because it tells a consistent, cogent, and interesting story, in which the
individual elements add up. The changes needed to accommodate the plot within a
21<sup>st</sup> century context make sense and bring the characters, their
words and actions, close to the contemporary German audience— more, so,
perhaps, than to the American audience, if the voice of American critic
Isherwood is to be taken as representative: his assessment of the production
and its characters as cool and distanced misses the point that the monotonous
delivery of lines, misunderstood as cool, was indeed characteristic of much of
German speaking at the time. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Works cited</span></b></div>
<div align="left" class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoEndnoteText" style="margin-left: 1.0cm; text-indent: -1.0cm;">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Bassett,
Kate. 2008. Hedda Gabler, Barbican, London. <i style="mso-bidi-font-style: normal;">The
Independent</i>, March 2. <a href="http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/hedda-gabler-barbican-londonbr-the-vortex-apollo-shaftesbury-avenue-londonbr-artefacts-bush-london-790146.html"><span style="color: green;">http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/hedda-gabler-barbican-londonbr-the-vortex-apollo-shaftesbury-avenue-londonbr-artefacts-bush-london-790146.html</span></a>
(accessed December 15, 2011).</span></div>
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<br /></div>
<div class="MsoEndnoteText" style="margin-left: 1.0cm; text-indent: -1.0cm;">
<span lang="DE" style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Böckem, Jörg. 2010. Im Hier und Jetzt zu
sein, wie ein spielendes Kind. </span><i style="mso-bidi-font-style: normal;"><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Zeit
Online</span></i><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">, November 3. <a href="http://www.zeit.de/2010/44/Traum-Katharina-Schuettler/komplettansicht?print=true"><span style="color: green;">http://www.zeit.de/2010/44/Traum-Katharina-Schuettler/komplettansicht?print=true</span></a>
(accessed December 15, 2011).</span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-left: 1.0cm; text-align: left; text-indent: -1.0cm;">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Gardner, Lyn. </span><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">2008.
Hedda Gabler. <i style="mso-bidi-font-style: normal;">The Guardian</i>, February
29. <a href="http://www.guardian.co.uk/stage/2008/feb/29/theatre1.print"><span style="color: green;">http://www.guardian.co.uk/stage/2008/feb/29/theatre1.print</span></a>.
(accessed December 15, 2011).</span><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;"></span></div>
<div align="left" class="MsoNormal" style="text-align: left;">
<br /></div>
<div class="MsoEndnoteText" style="margin-left: 1.0cm; text-indent: -1.0cm;">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Isherwood,
Charles. 2006. Enter Hedda, Modern Chic but Still Fighting Boredom. <i style="mso-bidi-font-style: normal;">The New York Times</i>, November 30. <a href="http://theater.nytimes.com/2006/11/30/theater/reviews/30hedd.html?pagewanted=print"><span style="color: green;">http://theater.nytimes.com/2006/11/30/theater/reviews/30hedd.html?pagewanted=print</span></a>
(accessed December 15, 2011).</span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="text-align: left;">
<span lang="DE" style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Kohse, Petra. 2005. Zwei verpasste Chancen, die
Geschichte zu verändern. <i style="mso-bidi-font-style: normal;">Frankfurter
Rundschau</i>, October 28. </span><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;"><a href="https://www.lustaufkultur.de/kulturkalender/veranstaltungen/presse/Hedda-Gabler-25843.html"><span style="color: green;">https://www.lustaufkultur.de/kulturkalender/veranstaltungen/presse/Hedda-Gabler-25843.html</span></a>
(accessed December 15, 2011)</span></div>
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<br /></div>
<div class="MsoEndnoteText" style="margin-left: 1.0cm; text-indent: -1.0cm;">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Spencer,
Charles. 2008. Hedda Gabler: Shocking then, shocking now. <i style="mso-bidi-font-style: normal;">The Telegraph</i>, February 28, <a href="http://www.telegraph.co.uk/culture/theatre/drama/3671492/Hedda-Gabler-Shocking-then-shocking-now.html"><span style="color: green;">http://www.telegraph.co.uk/culture/theatre/drama/3671492/Hedda-Gabler-Shocking-then-shocking-now.html</span></a>
(accessed December 15, 2011).</span></div>
<div class="MsoEndnoteText" style="margin-left: 1.0cm; text-indent: -1.0cm;">
<span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Stasio,
Marilyn. 2006. Hedda Gabler, <i style="mso-bidi-font-style: normal;">Variety</i>,
November 29, <a href="http://www.variety.com/review/VE1117932221?refcatid=33@printerfriendly=true"><span style="color: green;">http://www.variety.com/review/VE1117932221?refcatid=33@printerfriendly=true</span></a>
(accessed December 15, 2011).</span></div>
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<br /></div>
<div class="MsoEndnoteText" style="margin-left: 1.0cm; text-indent: -1.0cm;">
<span lang="DE" style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Swann, Julia. N.d. Hedda Gabler. </span><i style="mso-bidi-font-style: normal;"><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Birkbeck German Society</span></i><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">, <a href="http://www.selectideas.co.uk/webspacewest/germansoc/reviews/hedda_gabler.htm"><span style="color: green;">http://www.selectideas.co.uk/webspacewest/germansoc/reviews/hedda_gabler.htm</span></a>
(accessed December 15, 2011).</span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-left: 1.0cm; text-align: left; text-indent: -1.0cm;">
<span lang="DE" style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Tilmann,
Christina. 2005. Die Leiden der jungen H.: Ein Ibsen für<i style="mso-bidi-font-style: normal;"> </i>heute: Thomas Ostermeier triumphiert mit <i style="mso-bidi-font-style: normal;">Hedda Gabler</i> an der Berliner Schaubühne. </span><i style="mso-bidi-font-style: normal;"><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">Der
Tagesspiegel</span></i><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;">, October 28. </span><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;"><a href="http://tagesspiegel.de/kultur/die-leiden-der-jungen-h-/645376.html"><span style="color: green; mso-bidi-font-family: "Times New Roman";">http://tagesspiegel.de/kultur/die-leiden-der-jungen-h-/645376.html</span></a></span><span style="color: green; font-family: "palatino linotype" , serif; font-size: 12.0pt;"> (accessed December 15, 2011).</span></div>
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Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-71338508240210247382017-04-25T15:51:00.003+01:002017-04-25T15:51:29.864+01:00Live-casting<!--[if gte mso 9]><xml>
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<span style="color: blue;">Live broadcasts of opera, dance and theatre performances
from leading arts venues such as the Metropolitan Opera House, New York, Royal
Opera House Covent Garden, National Theatre, and Royal Shakespeare Company, to
numerous cinemas world-wide, have become part of the arts scene since their
launch by the MET opera in 2006. At the same time, live streaming to the
internet has been developed (for example by the Vienna State Opera), and live
broadcasts on television continue, predominantly for sports events. Initially,
live casts to cinemas were advertised as the opportunity of seeing live
theatre, only not in the theatre, but in the cinema. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="color: blue;">Over the years, producers
and audiences have realised that the experience of a theatre or dance or opera
production live-cast into a cinema is not the same as seeing the production in
the theatre or opera house. Nor is it the same as watching a recording of such
a live-cast, or the film of a stage production. Live theatre, opera or dance, live-casts
to the cinema, screenings of recorded live-casts, filmed stage productions, live-streaming
to the internet, and live broadcasts on TV are different from each other. Each
form has its own technology, its own contexts of production, and its own
aesthetics of reception. The cinema live-cast emphasises the communal aspect—hence
the RSC’s explicit decision, for example, to rely on the local cinemas’ public
sound systems rather than issuing headsets to each live-cast spectator in the
cinemas. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: blue;"></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: blue;">In the theatre, the spectator can decide what to look at,
the stage or other spectators, and what on stage to focus on, or not. In film
and in a live-cast or live streaming, the decision of focus is made for the
spectator by the director. </span></div>
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<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/AVvXsEj3emiH1TNe7lCZTGsNaAeXoEHaVCKmx-pt6G2KKrzT6qQ2aoQAZaP2Q5Za8TJtXya24Tp6epMSF5cPeb7l_Onytd4nhO1DKMmyOkpx1zO-NkynPLBQpSKQ2Z7xoj4yWShN-ftZ-NgEzb4G/s1600/hg1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3emiH1TNe7lCZTGsNaAeXoEHaVCKmx-pt6G2KKrzT6qQ2aoQAZaP2Q5Za8TJtXya24Tp6epMSF5cPeb7l_Onytd4nhO1DKMmyOkpx1zO-NkynPLBQpSKQ2Z7xoj4yWShN-ftZ-NgEzb4G/s320/hg1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.theguardian.com/stage/2016/dec/13/hedda-gabler-review-ruth-wilson-ibsen-ivo-van-hove-national-theatre#img-2" target="_blank">Hedda Gabler</a></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: blue;">In live-casts you do get close-ups that are not available
in the theatre. I saw the recent National Theatre production of <i style="mso-bidi-font-style: normal;">Hedda Gabler</i> both in the theatre (first)
and as a live-cast (later). In the theatre, I was impressed by the dynamics of the
vast space. That dynamics was nearly completely lost for me in the live-cast,
but I was able to combine my memory of that dynamics with the interesting
close-ups of the actor’s faces that I had not had in the live performance. Thus,
the impressions of live performance and live-cast combined into a new, richer experience
that neither the live performance nor the live-cast would have been able to
achieve. Research into this might consider the extent to which that combination
of experiences is due to my extensive experience in the context of theatre. </span></div>
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<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/UjrgIxEJ6tU/0.jpg" src="https://www.youtube.com/embed/UjrgIxEJ6tU?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
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<br /></div>
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<span style="color: blue;">A distinct disadvantage of the live-cast format can be for
comedy when the live audience is heard laughing about something that is not in
view at that moment. Technology itself, or the venue’s equipment, or the venue
staff’s ability to use the available equipment appropriately, are still
problematic for live-casts as well. I have attended a sizeable number of them,
but there has not been one without a temporarily frozen screen. The actor’s
words tend echo around the cinema—they do not do that in the theatre—sometimes
so much so that the cinema technicians decide to turn off all but the speakers
at the front of the cinema. Where live-cast directors choose not to select
specific aspects of the stage, but show the entire stage from a certain
distance necessary to capture the stage’s width and depth, they sometimes still
shift camera focus or angle slightly, very slowly, almost unnoticeably, and for
me and several others I talked to, this kind of camera movement caused
dizziness, headache and nausea. This medium has potential, but needs to address
current shortcomings. </span></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-54608255477809694352017-04-22T15:58:00.000+01:002017-04-22T15:58:11.711+01:00Science in Lucy Prebble’s The Effect<div class="separator" style="clear: both; text-align: center;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<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" 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"/>
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<div class="MsoNoSpacing" style="line-height: 150%;">
<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"></span></i></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The
Effect</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"> opened at the Royal National Theatre, London, in a co-production with
Headlong Theatre Company, directed by Rupert Goold, on 12 November 2012. It was
written by Lucy Prebble, who had scored a major critical success with <i>Enron </i>in
2009. The cast were </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Anastasia Hille as Doctor Lorna James and
Tom Goodman-Hill as Dr Toby Sealey, Billie Piper as Connie Hall and Jonjo
O’Neill as Tristan Frey. </span><i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The Effect</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"> is set in a drugs testing
facility. Triallists Connie and Tristan have volunteered to stay in the facility
(a hospital) for a four or five week trial period to undergo testing of a new
antidepressant. The drugs are administered by Dr Lorna James, and the trial is
overseen by Dr Toby Sealey. The play itself is set up like a drugs trial,
reflected in the text (such as references to the age, weight and height of the
characters in the list of characters, and the stage direction at the start of
the play ‘experiment begins’) and the performance, with Connie’s heart rate,
for example apparently visible or audible for the audience to see / hear at
appropriate moments in the play). </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"><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/AVvXsEiY8vC6rJ4vVqzBcjhMmMzkVo3S4ioxm1Y5l-P3Pwyk334cTqpJPjvFKIgjfQdBzFONaSSEgFQ8KnziLFztFVRxTQFxKy4bK7G6EOni_cAYpdEkO9Vb1ug5XNRcdURyPsUxQbt3eZKcJGtd/s1600/71.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY8vC6rJ4vVqzBcjhMmMzkVo3S4ioxm1Y5l-P3Pwyk334cTqpJPjvFKIgjfQdBzFONaSSEgFQ8KnziLFztFVRxTQFxKy4bK7G6EOni_cAYpdEkO9Vb1ug5XNRcdURyPsUxQbt3eZKcJGtd/s320/71.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.telegraph.co.uk/culture/theatre/theatre-reviews/9675660/The-Effect-National-Theatre-review.html" target="_blank"><span class="caption">Billie Piper and Jonjo O'Neill in Lucy Prebble's <i>The Effect</i></span></a></td></tr>
</tbody></table>
</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">With its
medical context, <i>The Effect</i> is placed on the spectrum of plays that deal
with science in one way or another. Kirsten Shepherd-Barr points out that plays
that deal with science have been around for several centuries, but that since
the mid-1990s, there has been an unprecedented wave of such plays, which has
not abated since (2006: 1). The science plays come from Britain, the USA,
France, Germany, Switzerland, Greece and other European countries, and
encompass ‘neurology, physics, biology, evolution, genetics, reproductive
technology, epidemiology, biochemistry, mathematics, and astronomy’ (2006: 1).
Shepherd-Barr identifies a number of recurrent features in science plays: they cast
the scientist as hero or villain (or indeed both), they engage with ‘real’
scientific ideas, they portray complex ethical discussion, and they demonstrate
an ‘interdependence of form and content that often relies on performance to
convey the science’ (2006: 2). As far as the form of science plays is
concerned, Shepherd-Barr notes the diversity, ranging from realism to
documentary theatre, from Brechtian theatre to non-realistic approaches, often
combining ‘textual richness with scenic restraint’ (2006: 2). A leading
exponent of science in theatre plays, Carl Djerassi, is keen to ensure that at
least in his plays, the science is as accurately presented as possible. In that
sense his plays are also didactic. </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"> </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"> </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">At the
core of this article is an exploration of the extent to which the science in <i style="mso-bidi-font-style: normal;">The Effect</i> is accurate, of the instances
where the play deviates from knowledge, approaches, protocol and scenarios in
science as practiced today, and of possible reasons and impact of such accuracy
or deviation. The article analyses the play in terms of the institutional
context it presents, the relationship of the scientists and the volunteers,
common assumptions about psychology, and the specific procedures of the trial presented
in the play. This exploration is based on discussing the play with Dr Paul
Grassby (Head of the School of Pharmacology, University of Lincoln), Dr Graham
Lappin (then Reader, School of Pharmacology, University of Lincoln) on 13
October 2013 in person, and Dr. Wayne Macfadden (then Senior Medical Director,
Hoffman-La Roche Neuroscience) on 17 October 2013 via skype. </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"> </span></b></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"><br /></span></b></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"><br /></span></b></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/AVvXsEj4Tl-_jv7TOq0S2dwUHZH5dOqaWC4MpakMnGBAq-WYxSmoIkrcA661-d8CgdsPItbUktO8zrkZaf4vLX2OEcyCbgG0-_CSh0JIpvqNO7_h9ZYPnFZE6dJz_RaIHxu6QfE6O-wKEHJLB7vl/s1600/1.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Tl-_jv7TOq0S2dwUHZH5dOqaWC4MpakMnGBAq-WYxSmoIkrcA661-d8CgdsPItbUktO8zrkZaf4vLX2OEcyCbgG0-_CSh0JIpvqNO7_h9ZYPnFZE6dJz_RaIHxu6QfE6O-wKEHJLB7vl/s1600/1.png" width="136" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://staff.lincoln.ac.uk/pgrassby" target="_blank">Paul Grassby</a></td></tr>
</tbody></table>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"> </span></b></div>
<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/AVvXsEihhB486JH2eOOAvBXtprZa-rbTcnKZYY3areGTiigeijmP3iFLN0hSNegsU0p1rGiOG0doNMc4oiEn2oSnvtSAm5mOHUmbKMpm-h2u8pf9Y4ih4Ht8ov6JeVu8vafH-0YUW8eeNvtVwdr9/s1600/2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihhB486JH2eOOAvBXtprZa-rbTcnKZYY3areGTiigeijmP3iFLN0hSNegsU0p1rGiOG0doNMc4oiEn2oSnvtSAm5mOHUmbKMpm-h2u8pf9Y4ih4Ht8ov6JeVu8vafH-0YUW8eeNvtVwdr9/s200/2.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://hamr.blogs.lincoln.ac.uk/files/2013/07/GL-Photo-2.jpg" target="_blank">Graham Lappin</a></td></tr>
</tbody></table>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"> <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/AVvXsEjrSJQpCziIIEpKi3yIEK1gds20PT1ZBrsk9vSFkvX6aA-wNq1O9rOXzOirU7MiQnlbCBZAq_nkzdr6hSfnJKtdcXFmauENvYsCdUJht7O37k-4IfCtuVRyoUya5IU8Z825raRkx77jU6S6/s1600/3.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrSJQpCziIIEpKi3yIEK1gds20PT1ZBrsk9vSFkvX6aA-wNq1O9rOXzOirU7MiQnlbCBZAq_nkzdr6hSfnJKtdcXFmauENvYsCdUJht7O37k-4IfCtuVRyoUya5IU8Z825raRkx77jU6S6/s320/3.jpeg" width="163" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://twitter.com/drwmacfadden" target="_blank">Wayne Macfadden</a><b><br /></b></td></tr>
</tbody></table>
</span></b></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"></span></b></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The institutional context</span></b></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The Effect</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">
identifies Connie and Tristan as healthy volunteers who are to stay in the
trial institution, a part of a hospital, for four weeks for the doctors running
the trial to establish the impact of a new antidepressant. The volunteers undergo
a series of pre-trial tests, then the drugs are administered in increasing
doses, and further measures are taken to establish the impact of the drugs on
the volunteers. Paul Grassby agrees that clinical trials at their beginning stage
are expected to work with people who are healthy.<span style="mso-spacerun: yes;"> </span>Wayne Macfadden expands on this by pointing
out that ‘after a drug is shown to be not dangerous in animals, it progresses
to healthy volunteers to determine what the maximum tolerated dose is’.
According to both Grassby and Macfadden, this is a relatively short procedure,
and would not take a month, as the trial in the play.<span style="mso-spacerun: yes;"> </span>In addition to establishing the doses that
are safe for humans to take, the first phase in current trial practice tests
for pharmacokinetics, ‘what the body does to the drug’, which is ‘the movement
of the drug into, through, and out of the body’ (reference).<span style="mso-spacerun: yes;"> </span>Once safety and pharmacokinetics have been
established in healthy volunteers, pharmaceutical companies will start testing
the new drug on volunteers who have actually had the disease, not another group
of healthy volunteers.<span style="mso-spacerun: yes;"> </span>Macfadden goes on
to point out that the purpose of the anti-depressant medication that is being
developed in the context of Prebble’s play is to improve symptoms in people who
are suffering from a Major Depressive Disorder, as described in DSM-5: ‘therefore
one wouldn’t give it to a healthy person as it wouldn’t really tell you
anything, as you wouldn’t of course expect to improve their mood as they are
not clinically depressed’.<span style="mso-spacerun: yes;"> </span>Macfadden’s
observation in this context relates to Grassby’s position that what is
presented in the play is not really a clinical trial but more of a research
project.<span style="mso-spacerun: yes;"> </span>‘It is the first experimental
attempt to put the active ingredient into a human and it is not a rigorous
randomized, double blind clinical trial’. </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Thus
in terms of the scenario that provides the frame for <i style="mso-bidi-font-style: normal;">The Effect, </i>the play collapses several stages of a real-life trial,
ranging from pre-trial experiment via test for safety and pharmacokinetics with
healthy volunteers, to the long-term trial with volunteers who are suffering
from the symptoms the drug is supposed to address. When the doctors talk
amongst each other, Toby says ‘an antidepressant effect in healthy
volunteers.<span style="mso-spacerun: yes;"> </span>Pretty extraordinary.’ (2012:
23)<span style="mso-spacerun: yes;"> </span>This is a further instance to
suggest that the scenario in <i style="mso-bidi-font-style: normal;">The Effect </i>is
a research project and not a clinical trial because as Macfadden says, ‘presumably
this drug is being tested for a Health Authority approval- <span style="mso-spacerun: yes;"> </span>so one wouldn’t primarily be studying its
psychoactive effects in healthy people’.<span style="mso-spacerun: yes;">
</span>In<span style="mso-spacerun: yes;"> </span>drug trial testing at the clinical
trial stage researchers would be looking at ill people. ‘They would not be
doing psychiatric depression rating scales in normal healthy individuals so
again this points to the fact that what they should actually be doing is not a
clinical trial but only testing the drug for its safety and tolerability’. The
length of the trial period in <i style="mso-bidi-font-style: normal;">The Effect </i>is
also contested by the experts: what happens in the play suggests a pre-trial
research project or testing for safety and pharmacokinetics, which would not
take four weeks.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The
play suggests that there are more male volunteers than female ones.<span style="mso-spacerun: yes;"> </span>Grassby points out that the rule of thumb is
that the first participants in a trial or experiment are always male.
Pharmaceutical companies do not use females at all, because for new drugs,
studies of how an unborn foetus may be affected by the drug cannot have been
carried out yet.<span style="mso-spacerun: yes;"> </span>There may be
exceptions, depending on the general target for the drug.<span style="mso-spacerun: yes;"> </span>‘If you had a small number of females in
there, I don’t think you will be breaking some big rules, but they are mostly
males at the first stage’. Macfadden agrees that there are usually more men,
and in the case of female volunteers, the testing institutions have to ensure
as best as they can that the female volunteers are not pregnant and will not
get pregnant for the duration of the trial. </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Further
within this context of the institutional conditions surrounding drugs trials,
Connie and Tristan discuss that for some projects English has to be the first
language and subjects have to be articulate.<span style="mso-spacerun: yes;">
</span>This assumption probably implies that these subjects will be able to
express the kinds of experiences that they have in relation to the drugs—by
further implication, for other kinds of drugs they might the companies might
select volunteers who do not fit that description.<span style="mso-spacerun: yes;"> </span>Lappin points out that in clinical trials
there is a need for informed consent.<span style="mso-spacerun: yes;"> </span>‘That
means that subjects usually have to read quite a lot of material before they
start and then understand it before they sign off’.<span style="mso-spacerun: yes;"> </span>Thus all trials require a certain level of
literacy from their subjects. It should be noted, however, that, as Grassby
comments, much of this work of clinical trials is sub-contracted by
pharmaceutical companies and many clinical trial units that they set up tend to
be in the poorer areas ‘so they tend to capture people who do this for money’.</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</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/AVvXsEinlFfhxkJ_gsqd4a369GAu-ONZwenCAypBfJeCERAe6Pya4-0bIyHn__f6EgVTN0sN3VUWeYSScNAk1y7gY7tbw4DjMcKRTgvQ3qjimMBd6EUmvJrF1Ci37V3rqdYT6ec6ToFR0ch1Xx6t/s1600/74.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinlFfhxkJ_gsqd4a369GAu-ONZwenCAypBfJeCERAe6Pya4-0bIyHn__f6EgVTN0sN3VUWeYSScNAk1y7gY7tbw4DjMcKRTgvQ3qjimMBd6EUmvJrF1Ci37V3rqdYT6ec6ToFR0ch1Xx6t/s320/74.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;"><a href="https://www.theguardian.com/stage/2012/nov/14/the-effect-lucy-prebble-review" target="_blank"><span style="font-family: "times new roman" , serif; line-height: 150%;"><span class="caption">Billie Piper and Jonjo O'Neill in Lucy Prebble's <i>The Effect</i></span></span></a></span></td></tr>
</tbody></table>
<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">So
far, the following picture about the use of science in <i style="mso-bidi-font-style: normal;">The Effect </i>emerges: the scenario that Prebble sets up for <i style="mso-bidi-font-style: normal;">The Effect</i> is somewhere between first
experiment and first trial phase with healthy subjects to test for security.
The four-week duration of the trial is not compatible with either experiment or
first trial phase. The socio-political context is similarly ambiguous regarding
the information about level of literacy required, and with the presence of a
female subject more of an exception in real life situations.<span style="mso-spacerun: yes;"> </span></span><br />
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Towards
the end of the play, when an overdose of the drug has had devastating effects
on Tristan, Dr Sealey discusses events with Dr James and concludes that ‘nothing
will be published obviously’ (2012:<span style="mso-spacerun: yes;"> </span>97).
Macfadden wonders whether this is an indication that the researchers would not
be publishing all the results: in a real- life context that would not be
acceptable.<span style="mso-spacerun: yes;"> </span>The question then arises as
to the personal interest of the doctors involved in this case with the outcome
of the project and here Macfadden comments that physicians like Dr James should
not have any financial interest in whether the trial succeeds or not because
she is presumably paid only for her time so it shouldn’t matter to her whether
the drug works out or not.<span style="mso-spacerun: yes;"> </span>For Dr Sealey
the matter is likely to be different: ‘he is probably a stockholder in the
company and he would want the tests to work and that is why in the real life
scenario he should not have anything to do with the actual patient care and he
would certainly not know which patient was receiving placebo and which was not’.<span style="mso-spacerun: yes;"> </span>Macfadden emphasises that companies (sponsors
of research) are very keen on monitoring their procedures very strictly:<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">In
general, clinical trials are closely monitored by the sponsors, as information
may need to be provided to health authorities. To start with, the placebos are
supposed to look exactly like and taste like the real drug. The unblinding
codes are strictly maintained, so nobody in the company knows who is on active
drug and who is receiving an active drug, unless there is an urgent safety issue.
Then a patient may be ‘unblinded’, and the treating physician is informed about
what they are receiving. There are also specific contractual arrangements with
the investigators; they must not be overpaid, nor given extra financial
incentives. They must be paid only for their work on the project. For example,
it is forbidden to give investigators extra money if they recruit more patients
than other investigators.<span style="mso-spacerun: yes;"> </span>Finally, there
is an obligation to publish all the data within 12 months of the end of the
study.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The scientist – volunteer
relationship</span></b></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">In
the early stages of the trial, independent of whether it is an experiment or
whether it is a clinical trial, the question is whether the scientists running
the experiment would be on the ground with the subjects at the stage of their
admission to the trial facility, doing the blood pressure tests, swabs, giving
medicines and discussing their questions, or would this be done by their
assistants only?<span style="mso-spacerun: yes;"> </span>The very first
encounter in the play between clinician and volunteer, Dr James and Connie,
gives rise already to the question as to what kind of scenario the play is
taking as its focus: where, in a real pharmaceutical company testing its new
drugs on humans, would we find the contexts described in the play? The play
begins with Dr James asking Connie: ‘have you ever suffered from depression?’
(2012: 5).<span style="mso-spacerun: yes;"> </span> </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The play then continues with
the discussion between Dr James and Connie of what it means to be depressed and
whether Connie herself is depressed.<span style="mso-spacerun: yes;"> </span>Dr
James proceeds to ask Connie about pregnancy, contraception, smoking, drinking,
drugs, medicines, irritable bowel syndrome, cancer (specifically of throat,
lungs and skin), arthritis and diabetes.<span style="mso-spacerun: yes;">
</span>What the play seems to be covering here is anything that could possibly
have an effect or be related to the drug in question, or even further, where
they do not expect anything but they are testing for those influences
anyway.<span style="mso-spacerun: yes;"> </span>According to Grassby and Macfadden,
this range of questions, and the fact that the questions are asked by the
doctor involved in the trial, rather than an assistant of some kind, makes
sense in comparison to their experience in drugs trials. Lappin adds that there
would be a very close relationship with patients and medical staff at this
first stage.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 1.0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">However,
Grassby, Lappin and Macfadden also agree that the play shows too much of
familiarity between the doctor and the patients, which according to Macfadden,</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">most
people in the profession would probably view as inappropriate doctor/patient
contact, for example Dr James telling Connie about her previous affairs and her
love life [2012: 61-62].<span style="mso-spacerun: yes;"> </span>Even in a
psychotherapy situation most people would view such behaviour as not within the
boundaries of normal practice.<span style="mso-spacerun: yes;"> </span>In a
clinical trial it is even more important to to remain neutral to the subject, and
ask open ended questions- so their responses are not influenced by their
personal feelings towards the investigator.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY9fTxdHVy55n098beZbv7Z0st1wQpWz_bOPfK9AFkOpEJPjMq0qpxdzJ7wMDo3CM0-nYXf3zU2usaLcfOGDcR7V5nEXYQugvpHrWgV2RD2k6U2bjCTR_1lWLmah1SSq0L5xWWl5WPLOiV/s1600/75.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY9fTxdHVy55n098beZbv7Z0st1wQpWz_bOPfK9AFkOpEJPjMq0qpxdzJ7wMDo3CM0-nYXf3zU2usaLcfOGDcR7V5nEXYQugvpHrWgV2RD2k6U2bjCTR_1lWLmah1SSq0L5xWWl5WPLOiV/s320/75.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.americantheatre.org/2016/04/11/a-new-role-for-londons-national-theatre-off-broadway-producer/" target="_blank">Jonjo O'Neill and Anastasia Hille in <i>The Effect</i></a></td></tr>
</tbody></table>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Especially
the scene in which Dr James suggests that the male volunteer, Tristan, could
give the urine sample while she is present is certainly not part of what would
happen in real medical circumstances, as Lappin points out ‘those samples are
not normally supervised, there are rooms that you go into and you produce the
samples and they collect it, and they wouldn’t mix male and female’. </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 1.0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">A
further example of this over-familiarity is the long joke that Dr James tells
Connie</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">There
is this medic at a conference and he has fallen for a girl there who hasn’t
looked twice at him.<span style="mso-spacerun: yes;"> </span>He knows dopamine
is the initial trigger for falling in love but also that dopamine is stimulated
a new, exciting experiences.<span style="mso-spacerun: yes;"> </span>To try and
get the girl he arranges for them to go bungee jumping together to set up his
own chemical reaction.<span style="mso-spacerun: yes;"> </span>The instructor
ties them together and they stand over this incredible valley and he has got
his arms around her and they fall long into this incredible, adrenalin/filled
rush – and their dopamine levels go higher.<span style="mso-spacerun: yes;">
</span>Eventually they get lifted back onto the bridge, they get their breath
back and he looks into her eyes and says, ‘wasn’t that amazing!’ and breathless
she answers ‘yes and isn’t the instructor handsome!’<span style="mso-spacerun: yes;"> </span>(2012: <span style="mso-spacerun: yes;"> </span>22)</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Macfadden
observes that it is not so much the question of whether this is an in-joke
amongst psychiatrists but that this is an instance where more intimate
conversation takes place and ‘a breaching of the objectivity that one would
expect from a physician interacting with a subject when testing a psychiatric
medicine’.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 1.0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">All
three specialists confirm that scientists involved in drugs trials, no matter
at what stage, would never know which patient received the real drug and which
received a placebo. It is thus not realistic that Dr James knows that Tristan
is receiving a placebo and not the drug. In consequence, it is equally not
realistic that her own reporting is tested as well for bias (i.e., Tristan in
fact gets the drug, not the placebo). Macfadden explains that this would not
happen in real life scenarios, </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">as
you can’t test investigators that way and especially because those involved as
researchers in such a procedure would never be trusted with the knowledge of
who is getting the real drug and who is getting the placebo—not until the end
of the experiment—as that would introduce too much bias, especially in
psychiatry where many patients respond to a placebo pill only, and thus one needs
to be as neutral as possible. </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Knowledge
of and assumptions about psychology</span></i></b></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Across
the play, the volunteers, Connie and Tristan, as well as the scientists, Dr
James and Dr Sealey, talk about the testing of drug-related aspects of
psychology and psychiatry in general, and with regard to depression in
particular. Given the play’s emphasis on the volunteers, I will consider them
first in this context. Connie is a psychology student, and asks Dr James
directly whether her knowledge of the Stroop test may or may not interfere with
the results. Dr James explains: ‘In most cases being aware of your own bias
doesn’t actually mean you can affect that bias’ (2012: 19). Macfadden confirms
this. Grassby, however, is of the opinion that if the subject knows the test,
knowledge can be a problem.<span style="mso-spacerun: yes;"> </span>In some
cases Macfadden adds ‘if you repeat a psychological test there is a learning
effect the second time around’. He argues that knowing about the contents of
tests in general may not matter as long as the subject did not undergo the test
too recently. </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The
play demonstrates in dramatically interesting detail how the two volunteers
break every rule in the book.<span style="mso-spacerun: yes;"> </span>They go
out of the prescribed area, they smoke, they use their phones, and they have
sex.<span style="mso-spacerun: yes;"> </span>Should they not be eliminated from
the data set?<span style="mso-spacerun: yes;"> </span>Lappin explains, first of
all, that the rule not to use mobile phones is not something he recognises from
the drugs trials he was involved in. In terms of the problematic behaviour, he
points out that volunteers get compensated financially for doing a trial. In
case of minor infringements of their contracts, they get fined and the money
they receive in the end goes down. In case of major infringements they are
excluded from the trial and do not receive any money.<span style="mso-spacerun: yes;"> </span>The infringements presented in the play would
certainly count as major.<span style="mso-spacerun: yes;"> </span>Macfadden
confirms that on the safety trials it might be appropriate to have volunteers
in overnight and if one where to lose a certain person for hours at a time, one
may need to eliminate them but it is a judgement call of the investigator.<span style="mso-spacerun: yes;"> </span>‘If, however, they are missing for 12 hours
one would certainly eliminate them and then they might be removed from the
project as unreliable’.<span style="mso-spacerun: yes;"> </span>Macfadden adds
that in describing the experiment, the assumption is that there might be ‘protocol
violators’ and the scientists may need to exclude those person’s data and start
fresh with another person until they have the requisite number of subjects
necessary.<span style="mso-spacerun: yes;"> </span>Therefore in those properly
protocoled experiments it would not ruin an experiment if one or two subjects
had to be removed from the project.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The
play references general attitudes towards mental illness with the assumption
that mentally ill patients rock to and fro (2012: 31).<span style="mso-spacerun: yes;"> </span>Grassby comments that such a pattern of
movement is normally due to the side effects of the drugs they are given,
anti-psychotics, and not part of the mental illness itself.<span style="mso-spacerun: yes;"> </span>Lappin adds that there is a whole range of
repetitive behaviour, with rocking or walking up and down among them. According
to Grassby, patients know that they are doing it and could try to stop doing it
for a short period of time.<span style="mso-spacerun: yes;"> </span>Macfadden
explains that people with severe mental illness like schizophrenia may rock
back and forth, but medication can make this worse.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The
constellations in the play are interactions between the volunteers, Connie and
Tristan, or between Dr James and one or both of the volunteers, and
interactions between Dr James and her line manager, Dr Toby Sealey. They
discuss the rationale behind the development of new drugs, with Toby arguing: ‘
‘It’s why we are developing new generations of ADs in the first place’ (2012:
24).<span style="mso-spacerun: yes;"> </span>Macfadden comments that
pharmaceutical companies attempt to develop improved, differentiated products.<span style="mso-spacerun: yes;"> </span>Toby wants to be associated with something
that is eventually improved.<span style="mso-spacerun: yes;"> </span>In the same
context Dr James continues with ‘Because the old ones have been discredited’,
to which Toby responds: ‘‘No they haven’t been discredited, the studies that
discredited our original trials have themselves been discredited now’ (2012:
24).<span style="mso-spacerun: yes;"> </span>Macfadden comments that there is inaccuracy
here, because nothing has really been discredited per-se regarding
antidepressant clinical trials, although there have been different
interpretations of the data through the years.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The
play also references the image of psychiatry as a discipline within medicine. In
a long speech ‘at an industry event’ (2012: 28), Dr Sealey introduces himself
like this: ‘I am Toby, I ‘m a psychiatrist, I’m afraid’ (2012: 28).<span style="mso-spacerun: yes;"> </span>Then he talks about the serious representatives
of medicine, the heart surgeons, in comparison to the Cinderella of medicine,
psychiatry.<span style="mso-spacerun: yes;"> </span>Psychiatrist Macfadden confirms
that psychiatry is indeed commonly disparaged by other specialities in medicine
because it is not always an evidence-based science and there are a lot of
variations in clinical practice amongst psychiatrists.<span style="mso-spacerun: yes;"> </span></span></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/AVvXsEg-azVO5Byc6vEsruPBIg06OF-M5gcKC0tjhvWIm2KIs_2O3D9nNpfS1C61xp1TAiga54eEIcRRYk5Tb51ZL36bqA2dW7cMo90Ir_w1TUUdyLVdKeWIQ3Qv2qELl93_QRnIaEUEmT6jpibj/s1600/72.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-azVO5Byc6vEsruPBIg06OF-M5gcKC0tjhvWIm2KIs_2O3D9nNpfS1C61xp1TAiga54eEIcRRYk5Tb51ZL36bqA2dW7cMo90Ir_w1TUUdyLVdKeWIQ3Qv2qELl93_QRnIaEUEmT6jpibj/s320/72.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #0000ee;"><a href="http://www.brunowangproductions.com/productions/the-effect/" target="_blank">Tom Goodman-Hill in <i>The Effect</i></a></span></td></tr>
</tbody></table>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"><span style="mso-spacerun: yes;"> </span>For this speech, Toby brings a real brain in
a bucket with him. Macfadden find this unusual, arguing that it is also possibly
unethical & maybe illegal: ‘you just can’t harvest body parts for the
purpose of a talk’.</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
</div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The
actual drugs trial</span></i></b></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">When
Dr James administers the first dose, 25 milligrammes of the agent RLU37, she
gives Tristan a pill ‘that has been emptied into a plastic cup and then a
plastic cup of water to wash it down with’ (2012: 12). Dr James says ‘5, 4, 3,
2, 1’, he then swallows it, his mouth is checked, Connie is next, Dr James
indicates she should wait, she does. Dr James repeats her ‘5, 4, 3, 2, 1’. ‘
Connie takes hers, her mouth is checked, it continues theoretically with other
volunteers’ (2012: 86).<span style="mso-spacerun: yes;"> </span>Macfadden
comments on this description of the process in the play as accurate if it were
a drug trial, but possibly a little too elaborate for the testing for security
that he considers the scenario in the play to represent. Lappin also notes in
the context of the medical tests and their application that what normally would
happen is that one person is dosed and then a team would wait for several hours
to give the same dose and medication to the next person.<span style="mso-spacerun: yes;"> </span>‘That is a rule that they have to stagger
because if they give everybody the dose and then there is a problem then they
will all have the problem.<span style="mso-spacerun: yes;"> </span>If you
stagger them, only one gets the problem’.</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">In
the play the dosage increases from 20-50 milligramme and so on upwards and later
goes on to 50-100-150 milligrammes.<span style="mso-spacerun: yes;"> </span>Macfadden
comments that this is what would indeed happen, it is called a single ascending
dose and a multiple ascending dose, which is the format in which one would use
to test the safety intolerability and try to find out the maximum tolerated
dose when people start to get side effects.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The
play suggests that nicotine inflates dopamine levels.<span style="mso-spacerun: yes;"> </span>Macfadden comments that nicotine stimulates
dopamine but not correct to say that it elevates dopamine for ‘hours’.<span style="mso-spacerun: yes;"> </span>Connie and Tristan talk about the telemetry devices
which they themselves detach and reattach.<span style="mso-spacerun: yes;">
</span>According to Macfadden this is possible but the investigator would know
when exactly at what time it came off and exactly at time it was put on again
just as doctors would definitely not know who is on the placebo and who is not
on the real drug and so there is no opportunity for them to tell the subjects whether
they are on placebo or not.<span style="mso-spacerun: yes;"> </span>Macfadden
adds here that in the US it is considered unethical of the doctors to give
placebos in the first place so Dr James’s comments in this regard would not be
applicable to the US but might apply in the UK.<span style="mso-spacerun: yes;">
</span>The side effects that the play mentions are irritability, paranoia, aggression,
extra blinking response. They are the type of thing one would want to see early
in a healthy volunteer, maybe in a single day but again not in a month long
locked procedure. </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;"></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvvC0Kk-I1U6uAj4zSCEE-0K3RqiBySc0symFNSxH90rv5V0s73wfdam9zK6MEw3c3u6Z8w17etxRp-jr6RQDlpoZKbjQjgF3c87gRblSmQ3w4KBwByJoggekw_QHkgCsNCzMW0NF5Gahb/s1600/73.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvvC0Kk-I1U6uAj4zSCEE-0K3RqiBySc0symFNSxH90rv5V0s73wfdam9zK6MEw3c3u6Z8w17etxRp-jr6RQDlpoZKbjQjgF3c87gRblSmQ3w4KBwByJoggekw_QHkgCsNCzMW0NF5Gahb/s320/73.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://audreysheffield.co.uk/wp-content/uploads/2015/04/The-Effect-4.jpg" target="_blank">Anastasia Hille and Billie Piper in <i>The Effect</i></a></td></tr>
</tbody></table>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Towards
the end of the play, when Connie and Tristan have developed a love relationship
and are not sure whether their feelings are real or the result of the drugs, we
have the situation where Connie gets her tablets, another increase of the
dose.<span style="mso-spacerun: yes;"> </span>The doctor fails to check her
mouth, Connie rushes to Tristan and kisses him full on the mouth. She has kept
her pill in her mouth and in the kiss transfers it to him.<span style="mso-spacerun: yes;"> </span>She assumes that he is given the placebo and
wants him to have the real drug. However, he has been getting the drug all
along, so on this occasion in effect he gets a major increase of the dose that
he had been given before. He should have been going from 200 to 250, but does
go from 200 to 500. Within seconds, Tristan ‘makes a strange sound, he
staggers, loses consciousness, falls to the fall, stiffens.<span style="mso-spacerun: yes;"> </span>His limbs jerk and twitch, his mouth gurns,
he is fitting.<span style="mso-spacerun: yes;"> </span>He bleeds from his mouth
and wets himself, it is horrific’ (89-90).<span style="mso-spacerun: yes;">
</span>In this context the experts comment that it is not likely that a patient
will be bolting away and transferring a pill to another patient like this
because it is more likely that they are receiving their pills independent of
each other:<span style="mso-spacerun: yes;"> </span>‘typically it is a
relatively private encounter between the study staff and subject when you give
the person the medicine’ (Macfadden).<span style="mso-spacerun: yes;"> </span>One
reason for this is that one would not want to see what the other person is
getting.<span style="mso-spacerun: yes;"> </span>Lappin confirms that to go from
fairly mild symptoms to symptoms described in the play by more than doubling
the dose is extremely unlikely.<span style="mso-spacerun: yes;"> </span>Grassby
adds that the kind of side effects or the amount of side effects could happen
but they would not happen that fast.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Tristan
then suffers from ‘transient global amnesia’ and he also has got ‘tardive dyskinesia’.<span style="mso-spacerun: yes;"> </span>Macfadden comments that with tardive
dyskinesia people can rock back and forth but that is the condition that people
can get when they take anti-psychotic medications usually at a high dose for a
very long time.<span style="mso-spacerun: yes;"> </span>This effect would not likely
happen after a single dose in such an individual even if it is a very high
dose.<span style="mso-spacerun: yes;"> </span>This is medically incorrect for a number
of reasons: the effect would be coming from a different kind of medication and
people need to take higher doses over a long period of time.<span style="mso-spacerun: yes;"> </span>The amnesia is described as transient. Transient
means, according to Macfadden, that it fades away so it should decrease but it
does not seem to decrease in Tristan: so there is an inconsistency there.<span style="mso-spacerun: yes;"> </span>The description of Tristan’s symptoms rather suggests
that he suffered a ‘cerebral vascular incident, i.e., lack of blood flow to the
brain’.<span style="mso-spacerun: yes;"> </span>The other inconsistency is that
the play suggests that Tristan has undergone a blood transfusion. That is
strictly speaking not accurate ‘as in the case of an overdose like this one
would not get a blood transfusion but a dialysis’.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The
play reveals that Tristan had a history of seizures in childhood, which was
undisclosed (2012: 96) and Dr Sealey blames the strong effect of the overdose
on that. Macfadden comments this is an example of somebody who may be hiding
symptoms for the purpose of being eligible for a clinical trial.<span style="mso-spacerun: yes;"> </span>It was not discussed whether the trial team
would rely on self-disclosure or whether they would ask for medical records of
the volunteers.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">The
end of the play suggests in the stage directions that Tristan has recovered
sufficiently to be discharged from hospital, but he remains vulnerable, his
physicality is of a different man without some of the former bounce. It is left
unclear whether it is something that he would be like forever, whether he is
forever damaged in some form, or whether this is something that he is like now
and there might be a chance of further improvement.<span style="mso-spacerun: yes;"> </span>Macfadden points out that this is unlikely to
be the result of a single dose but it is not impossible because the overdose
might have caused a minor stroke, which would in turn leave more permanent
damage. </span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Conclusion</span></b></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">To
conclude, Macfadden thinks that the idea of confusing a placebo response with
developing real feelings is an intriguing notion.<span style="mso-spacerun: yes;"> </span>He also thinks that some of the things that
he referred to and I asked him about would not be picked up easily by someone
who is not a specialist.<span style="mso-spacerun: yes;"> </span>Therefore for
the conventional spectator who does not have this specialist knowledge, it will
not be received as preposterous or fictional, as a figment of the
imagination.<span style="mso-spacerun: yes;"> </span>People might recognise that
the doctor should not really be that close to people and talking about their
love life but other than that it was fun.</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNoSpacing" style="line-height: 150%; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">References</span></b></div>
<div class="MsoNoSpacing" style="line-height: 150%; margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">American Psychiatric Association:
Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition. (Arlington
VA, American Psychiatric Association, 2013)</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Grassby, Paul, interviewed by Daniel
Meyer-Dinkgräfe, unpublished, 14 October 2013.</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Lappin, Graham, interviewed by Daniel
Meyer-Dinkgräfe, unpublished, 14 October 2013.</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Macfadden, Wayne, interviewed by Daniel
Meyer-Dinkgräfe, unpublished, 17 October 2013.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNoSpacing" style="line-height: 150%; margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Prebble, Lucy, <i style="mso-bidi-font-style: normal;">The Effect</i> (London: Methuen Drama, 2012)</span></div>
<div class="MsoNoSpacing" style="line-height: 150%; margin-left: 1.0cm; text-align: justify; text-indent: -1.0cm;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 150%;">Shepherd-Barr, Kirsten, <i style="mso-bidi-font-style: normal;">Science of Stage. From Doctor Faustus to
Copenhagen</i> (Princeton: Princeton University Press, 2012)7</span></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-71832624975680775722017-04-19T16:25:00.000+01:002017-04-19T16:25:31.154+01:00Mozart motive recurring in Beethoven and Wagner<!--[if gte mso 9]><xml>
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/* Style Definitions */
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mso-tstyle-colband-size:0;
mso-style-noshow:yes;
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mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0cm;
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: blue;">In this post I would like to point to a similarity of a
motive in classical music and invite comments from musicologists and others as
to whether this has been covered in academic literature.</span></span></div>
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<br /></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: blue;">At the end of Mozart’s <i style="mso-bidi-font-style: normal;">Die
Zauberflöte</i>, the chorus expresses gratitude to the gods. On each of the “Dank”,
the violins play a very striking cascade in semiquavers, </span></span></div>
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<br /></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: blue;"><iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/jVQaSJD4JwM/0.jpg" src="https://www.youtube.com/embed/jVQaSJD4JwM?feature=player_embedded" frameborder="0" allowfullscreen></iframe></span></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: blue;">On this video, the cascade begins at 1:50 </span></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: blue;"><br /></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: blue;">The motive re-appears in the Largo of Beethoven’s 3<sup>rd</sup> piano
concerto:</span></span></div>
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<br /></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: blue;">On this video, the cascade begins at 26:05</span></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: blue;">This motive reappears as the "pulse of life" in Wagner’s <i style="mso-bidi-font-style: normal;">Tannhäuser</i>. </span></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="color: blue;"><br /></span></span></div>
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<br /></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-88760306169681056692017-04-18T15:28:00.000+01:002017-04-19T11:54:28.598+01:00The craft, art and magic of conducting<!--[if gte mso 9]><xml>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">The activity of conducting an orchestra for a concert or in opera, and
the role of the conductor, have been discussed predominantly in poetic terms.
Just as in any other form of art, or probably even in any field of life, there
is the average performance of the activity of conducting, in which the
conductor displays a certain achievement in the techniques associated with the
activity, certain acquired, learnt and practices skills that can be taught in
person or through manuals, such as the kinds of movements that are needed, </span></span></div>
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<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/AVvXsEjc4YhP_ba6Wsi7x1ihlmkcdHp_Jl1cV3ZPmIdRj3QiVpXBV0gmdVLMqGLoUoHtxXz72QxKEvqIGY3hFMCFuEYcq2l5WkIK-GK0MbIIUQG02V9ySMPqT7gAwGxktFNdfdH4HEYHxEALbxaq/s1600/1.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="144" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc4YhP_ba6Wsi7x1ihlmkcdHp_Jl1cV3ZPmIdRj3QiVpXBV0gmdVLMqGLoUoHtxXz72QxKEvqIGY3hFMCFuEYcq2l5WkIK-GK0MbIIUQG02V9ySMPqT7gAwGxktFNdfdH4HEYHxEALbxaq/s320/1.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.quora.com/How-does-conducting-an-orchestra-work" target="_blank">The conductor's gestures</a></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">reading the
score, and transmitting the score to the orchestra. Conductors need to have
musicality, and need to be able to communicate mainly through gesture, without
words (at least in the performance, very often also the rehearsal). Conductors
need to know how to handle people (after all, their orchestra consists of up to
100 or more instrumentalists), and need authority (but, some say, without
alienating the orchestra players. Eye contact is important for this, as Bernard
Haitink demonstrated in a master class (Masterclass Media Foundation, 2015). </span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/idnY8DOCpTw/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/idnY8DOCpTw?feature=player_embedded" width="320"></iframe></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">Extraneous movement is not needed, also demonstrated vividly by Haitink in
masterclasses—suggesting to one trainee conductor to engage less in head
movements (Masterclass Media Foundation, 2015), and holding the left arm of
another young conductor down when she was doing too much with it, unnecessarily </span></span><span style="font-family: "verdana" , sans-serif;"><span style="color: blue;"><span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">(rising conducting star <a href="http://karinacanellakis.com/" target="_blank">Karina Canellakis</a>, n</span></span>mz Media, 2015, 5:00). Conductors need to listen in the head and then
compare, to check whether the sound the orchestra produces matches what they
hear inwardly. Perfection that a conductor may aspire to exists only in the
conductor’s head: as Yakov Kreizberg put it: “You can determine what your goal
is and you can strive to achieve that goal (…) but you’re not likely to
completely fulfil it” (Duffie, 2002, 37-38). <span style="mso-tab-count: 1;"> </span></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">In addition to interviews with conductors, or articles about conducting
in newspapers or magazines, there are some scientific, empirical studies of
this art. Biasutti, for example, concludes on the basis of a qualitative study
involving 10 <span style="mso-bidi-font-size: 12.0pt;">conductors and 10
performers:</span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The
conductor needs a good memory, listening skills, clear gestures, a suitable
choice of repertoire; he or she must be able to project his or her musical
interpretation, respect compositional ideas and understand the musical
character and style of the piece. The conductor has a holistic approach which
combines technical, expressive and interpretation issues with consideration of
the music as a whole. High-level instrumental technique, listening and feedback
are important aspects for orchestral players, but also social skills since
players have to work collaboratively, following the conductor’s instructions
and sharing the assignments with other members of the orchestra. (2012, 68). </span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;"><span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Khodyakov
studied the relationship between guest conductors and the orchestras they work
with, in terms of the concepts of power, authority and legitimacy. He concludes
that “b</span>ecause of the temporary nature of guest conductor–musicians
relationships, the success of this negotiation depends on the extent to which
guest conductors can signal their readiness to build trustworthy and respectful
relationships with musicians and invest in impression management” (2014, 64).</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">Koivunen and Wennes explored the role of the conductor in terms of
leadership qualities, such as authority, physical and mental fitness,
ambitions, intelligence, communication skills, and charisma (2011, 52). They
refer to Ladkin’s 2008 study of beautiful leadership, a “bodily embodied
practice” which consists of “mastery, congruence and purpose” (2011, 56). They
further point to research suggesting that many conductors are in fact not
loved, but hated by the musicians in their orchestra (2011, 58). <span style="mso-spacerun: yes;"> </span>They do not suggest correlations between love
or hatred and beauty of the experience of the music created by orchestras where
either one or the other dominates the conductor-orchestra relationship. I would
expect that hatred does is not conducive to great art. <span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">There is a marked difference between average performance and great
achievement, and it is here that technique remains as the necessary basis, but
is being surpassed in peak performance (evoking Maslow’s concept of peak
experience, 1968), or flow (<span style="font-size: 11.0pt;">Csikzentmihalyi, 1993)</span>.
The phrases then used to describe the experience of being in the presence of a
great conductor, of music conducted by a great conductor, become poetic:
magical or alchemical (Burton-Hill, 2014), implying a “cosmic level of
music-making” (conductor Mariss Jansons quoted in Burton-Hill, 2014). </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidrFG5Gx6eIq6G2Us_WK_szbIZEQEMb6NHZyWMlCx75s4FOiEAVvx9___h4NmS1jT4l5D-w6MnBYk9WmN33k_Guy0BLZ3Lqcg8nVYn-2lK9Ft8SHN5BeRx_ahvoqY-_o5tnZaJnVHNgU5G/s1600/2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidrFG5Gx6eIq6G2Us_WK_szbIZEQEMb6NHZyWMlCx75s4FOiEAVvx9___h4NmS1jT4l5D-w6MnBYk9WmN33k_Guy0BLZ3Lqcg8nVYn-2lK9Ft8SHN5BeRx_ahvoqY-_o5tnZaJnVHNgU5G/s1600/2.jpg" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.operaclick.com/interviste/mariss-jansons-english-version" target="_blank">Mariss Jansons</a></td></tr>
</tbody></table>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">Charisma
comes into the discussion here as well: it is the only concept in this context
that has been subjected to hesitant and mainly inconclusive empirical study,
where the result does not go much beyond the insight that charisma is an
important part of a conductor’s ability, and some conductors have more charisma
and other less (see for example, Running, 2011). An exception is the study of
collective virtuosity, collective peak performance in an orchestra, by Marotto,
Roos and Victor (2007). <span style="mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">Conductor Tara Simoncic explains that “there is an electricity and
energy that exists between the conductor and musicians. If you bring the right
energy, they will know exactly what you want from the music through your physical
movement, facial expressions and energy (2013). The great conductor passes a
current from one sphere to another, and what happens then between a great
conductor and her or his orchestra is possibly a form of telepathy. Antonio
Pappano commented: </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmgXjVXAQ6fprCkgkCSMsfUrEht9MpZR_lzykEz7C81FPnvIMKraQ6xB6ZgaoHXgXg8asLvXoCsFujy4NuszAdxNDlO02m7wrH4jPsIEia4vPLWc1jD_fnNeCr_n0gd8BhsYPgpWTfwdB0/s1600/3.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmgXjVXAQ6fprCkgkCSMsfUrEht9MpZR_lzykEz7C81FPnvIMKraQ6xB6ZgaoHXgXg8asLvXoCsFujy4NuszAdxNDlO02m7wrH4jPsIEia4vPLWc1jD_fnNeCr_n0gd8BhsYPgpWTfwdB0/s200/3.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://imgartists.com/roster/antonio-pappano/" target="_blank">Antonio Pappano</a></td></tr>
</tbody></table>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">“You can feel it, strangely enough, when people say that
there’s a great atmosphere in the house. That has a lot to do not only with
your performance and the performances coming from the stage, but how the
audience is reacting to it at the moment (…) You feel the silence (…) That’s
why people come to the theatre, for that (…) frisson. (Duffie, 2008, 34). </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">Werner Thärichen, timpani in the Berlin Philharmonic, reports that,
trained also as a conductor and composer, he would have the score on his
instrument during rehearsals. On one occasion, he noticed a beautiful, now
sound developing. It did not come from the conductor running the rehearsal, but
then he noticed Furtwängler standing in the entrance. He was carrying the sound
within him so strongly that his mere presence drew it from the musicians
(nuevamusicologia 2012, 55:19)</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">In conversation with Hans Binder, whose philosophy I have
explored in detail in my book <i style="mso-bidi-font-style: normal;"><a href="http://www.brill.com/products/book/observing-theatre" target="_blank"><span style="font-style: normal;">Observing Theatre: Spirituality and Subjectivity inthe Performing Arts. Amsterdam: Rodopi, 2013</span></a></i>, the following
further aspects of the “mystery” of conducting emerge: when the conductor and
the orchestra come together, they form, and unite within, an energy field. This
energy field is composed of the energy fields of all players and the conductor,
and all aspects of conductor’s profile that I discussed above come into this.
The energy field of orchestra and conductor together can be characterised by less
or more harmony. The extent to which the players’ and the conductor’s
consciousness has been developed feeds in to this energy field, as does their
dedication to their art, and the extent to which they have developed their
heart energies, and allow those to enter the energy field of the orchestra-conductor
encounter in rehearsals and performances. A warm heart and a high level of
sincerity are essential qualities for a conductor—Dimitrij Kitajenko recalls
that one of his foremost teachers, Yevgeny Svetlanov, “told the orchestra musicians
everything with his magic hands and his heart” (2015). </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">According to Binder, all humans are on earth for a very
individually specific purpose. If that purpose is to be a conductor, then
different conductors will have different tasks in relation to their art and
craft, in relation to the purposes and needs of the players and the spectators
/ listeners. Some will be more sensitive and cater for those players and
audiences who need or appreciate that aspect of music, while others may well have
the task to communicate more raw aspects of the music, which will be highly
appreciated by others. This explains the differences in our perception of
music, but does so without the need to take recourse to value judgements. We can
agree to disagree when we find that someone else does not like the conductor we
admire, and vice versa, without attributing weakness or other negative
characteristics to either the conductor or the fellow-listener. </span></span></div>
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<u><span style="font-family: "verdana" , sans-serif;"><span style="color: blue;">Works Cited</span></span></u></div>
<u>
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<span style="color: blue;"><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;">nuevamusicologia.
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<span style="color: blue;"><span style="font-size: small;"><span class="MsoHyperlink"><span style="font-family: "verdana" , sans-serif; text-decoration: none;">Running, Donald J. 2011. Charisma,
Conductors, and the Affective Communication Test. <i>Journal of Band Research</i>
47(1): 18-27.</span></span></span></span></div>
<span style="color: blue;"><span style="font-size: small;">
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<span style="color: blue;"><span style="font-size: small;"><span class="MsoHyperlink"><span style="font-family: "verdana" , sans-serif;"><a href="https://www.theguardian.com/commentisfree/2013/jul/22/female-orchestra-conductor-life-of-music" target="_blank">Simoncic,Tara. 2013</a></span></span><span style="font-family: "verdana" , sans-serif;">.
I’m an orchestra conductor. What do you want to know? <i>The Guardian</i>, 22
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Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-13023517623700247112017-04-15T16:29:00.001+01:002017-04-15T16:29:27.985+01:00Zoo Indigo's "No Woman's Land" -- A Journey<!--[if gte mso 9]><xml>
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<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;">In
1945, many people were evicted from their homes in East Germany and had to flee
their homes, with whatever belongings they could pack up at very short notice.
Many fled on foot, with hand-pulled carts, some more fortunate ones in their
cars. Those fleeing on foot were vulnerable because of the weather, and always
in danger of attack from soldiers. Many suffered from hunger, many died. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;">One
of those who had to walk for many, many miles was Lucia Rippel, grandmother of
Ildiko Rippel, who is a Senior Lecturer in Drama and Performance in the
Institute of Humanities and Creative Arts at the University of Worcester. She
and Rosie Garton form the Nottingham-based Anglo-German performance company <span style="background-color: #9fc5e8;"><span style="color: red;"><a href="http://www.zooindigo.co.uk/" target="_blank">Zoo
Indigo</a></span></span>. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<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/AVvXsEhnBNe2beYj4YG_s5-Daf_JRAbjzbD6kOEw4bylQuVV_AMHh2xcaaTCHDJnyKIfNfUgDVDrnnR_ah4pW6jD7azpRhPrjzJXj2Vlo2W-ktrd0bDmDjUTsUKFrVkCYePknLob7rwKt-yTMp5i/s1600/6.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnBNe2beYj4YG_s5-Daf_JRAbjzbD6kOEw4bylQuVV_AMHh2xcaaTCHDJnyKIfNfUgDVDrnnR_ah4pW6jD7azpRhPrjzJXj2Vlo2W-ktrd0bDmDjUTsUKFrVkCYePknLob7rwKt-yTMp5i/s320/6.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://nowomanslandwalk.wordpress.com/" target="_blank">Ildiko Rippel and Rosie Garton</a></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;">In summer 2015, Ildiko Rippel retraced her grandmother’s
journey of refuge, accompanied by Garton for much of the way, and other friends
and members of her family for shorter periods of time. In May 2016, Zoo Indigo
presented a performance of work in progress, followed by a discussion with the
audience, at the Attenborough Arts Centre in Leicester. The first full-length
performances took place in November 2016. The work is still being developed
further and has had several tour dates for 2017, including the Drill Hall in
Lincoln on 9 February, with more <span style="color: red;"><span style="background-color: #9fc5e8;"><a href="http://www.zooindigo.co.uk/tour-dates" target="_blank">forthcoming</a></span>.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;"> It
was interesting to observe the development of the performance over the three
stages from work-in-progress (May 2016) to full performance (November 2016) to
further performance (February 2017). It was a journey in itself. The framing
concept of presenting the performance as a Berlin cabaret was there from the
beginning and has remained. Rippel and Garton are dressed in 1920s suits, and
explained the context of their performance when the lights went down. They told
their audiences about their 2015 journey, and about the journey of Rippel’s
grandmother. They explained why there were two treadmills on the stage, and
that someone would be on the treadmills throughout the performance, Rippel and
Garton, but also members of the audience, who were asked to volunteer,
allocated a number, and asked to come forward and step onto the treadmills when
invited to do so during the performance. Rippel and Garton also checked which
male audience members have a beard. Then they chose one and applied make-up to
each other’s faces to represent beards. This was part of the cheerful nature of
the performance, as was the introduction proper of the cabaret, with Rippel
speaking in German and Garton in English. The seriousness of the context,
however, was brought home quickly and suddenly when they revealed that many of
the refugee women dressed up as men to avoid being raped by Russian soldiers,
or pretended to be mad because allegedly the soldiers would avoid women they
feared were mad. Rippel then revealed that her grandmother was not able to
escape that fate of being raped. “Not again” and “not again in front of the
children” were the chilling lines, in all three versions I. </span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe width="320" height="266" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/xskXo3EF5zc/0.jpg" src="https://www.youtube.com/embed/xskXo3EF5zc?feature=player_embedded" frameborder="0" allowfullscreen></iframe></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;">The
first full </span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Roman;">performance, in
November 2016, was around 80 minutes long, compared with the 45‐minute </span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: Arial;">ʺ</span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Roman;">work in progress</span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: Arial;">ʺ</span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Roman;"> I had seen in May. Rippel
and Garton had developed the material considerably, not only adding to the May
work. In May, they had not yet developed the necessary distance from the summer
2015 walk and the emotional involvement in it‐‐the frame of their performance,
to create distance through a 1920s Berlin cabaret context and style, was then a
device to create distance, and had now become a frame to express distance.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Roman;"> </span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Roman;">The two performers were now much more at home with the material, relaxed and
confident. There was a good balance of fast‐paced funny material and slower,
more thought‐provoking sections‐‐often sudden one‐line revelations that caught
the audience off‐guard and led to gasps and sudden silence. Extensive use of
footage from the film </span><i><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Italic;">The Great Escape </span></i><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Roman;">had been reduced considerably. Footage from the German film </span><i><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Italic;">Die Trapp‐Familie</span></i><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Roman;">, was shown as an example of the kinds of romantic film that the
grandmother of a German friend of Rippel and Garton loved watching‐‐she also
had had to flee her home in the wake of the end of WW2. While in the work- in-progress
performance that footage was merely shown without comment, with some spectators
able to identify it and others not, in this performance they explained the
context and contents. As in the work-in-progress performance, volunteers from
the audience were invited to walk on the two treadmills‐‐over the 80
minute‐performance, together they walked around two miles‐‐which was then
compared to the 200+ miles that Lucia Rippel had walked in 1945, and that
Ildiko Rippel and Rosie Garton had walked in 2015. The two performers also
played with their language(s)‐‐the fact that Rippel is a native speaker of German
and spoke many of her lines in German, while Garton does not speak German at
all‐‐in some cases Garton</span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: Arial;">ʹ</span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Roman;">s very dry, very brief renderings of Rippel</span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: Arial;">ʹ</span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt; mso-bidi-font-family: PalatinoLinotype-Roman;">s longer German
sentences was very funny indeed, esp. for those who understood both languages,
but also for those who did not.</span><span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span>
</div>
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<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/AVvXsEjq90zxz94kwKk76_OtgZxcxSlaX85l6cpNF48hFYga7a9CA3NTQi12Nj2oXNJdU8wpdfZm5PPuoLNfhvCgXFRQJCc-HtmJ1Zyimwl2oY_hId8SlytYpmXPvj3GSG7Eqqi0HXE7G57essTa/s1600/8.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq90zxz94kwKk76_OtgZxcxSlaX85l6cpNF48hFYga7a9CA3NTQi12Nj2oXNJdU8wpdfZm5PPuoLNfhvCgXFRQJCc-HtmJ1Zyimwl2oY_hId8SlytYpmXPvj3GSG7Eqqi0HXE7G57essTa/s320/8.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.zooindigo.co.uk/news" target="_blank">Image from <i>No Woman's Land</i></a> </td></tr>
</tbody></table>
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<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;">The third performance I saw, in February 2017, showed that Rippel
and Garton had further developed the performance—further reducing extraneous
material and making it even more their own, slowly and at times still
tentatively, cautiously abandoning the distance they initially needed to be
able to cope with the magnitude of the original walk in 1945, and that of their
re-tracing it in 2015.</span></div>
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<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: none;">
<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;">After the work-on-progress performance it had occurred to me, in
relation to what I had seen of Zoo Indigo’s work before, online video and an excerpt
of their <i style="mso-bidi-font-style: normal;">Blueprint</i> as part of a
conference at De Montfort University in Leicester, or indeed read about their
work: the previous work came much more immediately and without mediation from
the heart—Rippel and Garton both opened up and framed pure
love in the artistic context of the performance. There was fullness
there, and both performers could give as much of that as they liked without
them or us feeling any depletion. The fullness came from their shared love for their children
in <i>Under the Covers</i>, and that for their parents in <i>Blueprint</i>. In
the work-in-progress of <i style="mso-bidi-font-style: normal;">No Woman’s Land, </i>they
had not yet achieved that. This may be why the audience kept on
"wanting more" in the post-show discussion. </span></div>
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<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: none;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-hyphenate: none;">
<span style="color: blue; font-family: "Cambria",serif; font-size: 12.0pt;">It seems that Rippel and Garton found a way to that fullness for <i>No
Woman’s Land </i>as well, building on the love they have for Lucia Rippel and
her daughters. Of course, that love cannot be quite the same for Ildiko Rippel
as a blood relative and Rosie Garton, who comes to this performance from a
naturally bigger distance (also due to not having been able to join in the
whole trip in summer 2015). However, neither proximity nor distance remained
relevant in achieving a common ground of limitless love to serve as the basis
for giving to the audience.</span></div>
<br />Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-65700130898596095342017-04-06T16:58:00.000+01:002017-04-06T16:58:08.724+01:00Understanding experience beyond binary opposites<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">We
all have various experiences in life. Love, hate, being pleased/displeased,
being rewarded/punished, seeing a tiger, smelling the fragrance of a perfume,
touching a table, happiness, sorrow, being afraid of, or threatened by
somebody, reading, writing, being a child in school, being a father or mother,
trying to understand a concept, theory or problem and succeeding or
not succeeding in that attempt, being in the waking state, dreaming, half
asleep, soundly asleep, in agony, anxious, comfortable or in difficulty,
conducting/observing religious rituals, social customs, playing different
games, and so on. Each of these may have different kinds of sub-categories of
experience: for example, loving my parents is different from loving my friends,
both are different from loving myself. Just as experiences are innumerable,
understandings of experience can be innumerable as well. To complicate matters
further, we are bombarded by claims of approaches to experience that are
supposed to help us live our daily lives, from the marketing associated with
various lifestyle and consumer choices (exercise, dietary protocols,
“mindfulness”) to the poorly defined yet allegedly virtuous concepts of
academic fashion (“embodied” being the current one!)</span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Initially,
religions and philosophy sought to develop understanding of experience, later
followed by the sciences. However, history has also shown that new
understanding of human experience cannot have any impact unless our individual
minds are radically affected to the point where habitual responses such as anger,
greed, grasping and aversion are radically transformed. Understanding is one
thing but we would need to feel so inspired by this new understanding that we
are compelled to act on it. Only when this becomes internalised can people
benefit. Gautama Buddha and Jesus of Nazereth both came up with radical new
understandings of human experience and there are Buddhists and Christians who
are of benefit to others through this and some who are not. This shows that
understanding without wisdom is futile.</span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Experience
is central to human existence in so far as we all engage with experience at every
moment of our lives. Experience is related to and influenced, shaped and
determined by a vast range of factors within and beyond our control. This
considerable complexity of experience would suggest that every effort should be
made by representatives of academic disciplines to work together so as to
establish holistic approaches and yield holistic insights, rather than
exclusively delving even deeper into the increasingly isolated areas of
interest characteristic of those disciplines. Strategic efforts by some funding
bodies have realised this need by actively supporting such collaboration. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">I am grateful to Professor Les Lancaster and Dr Jessica Bockler for having discussed these issues with me and having contributed to a (sadly unsuccessful) funding bid in 2014. They now work through the <a href="https://www.aleftrust.org/" target="_blank">Alef Trust</a> which they founded in 2015. The text below in italics reflects their contribution.</span></span></div>
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<br /></div>
<br />
<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/AVvXsEj1j-rcMQseDN7tGDiSBqkVcA8Eou_wtTbQNyuTYJ75kVoLUrp4DtUbLopBhY3QVBa2oLh458XkBOg-pzn5fgBANbQPS2pY9KopAIokMmxFQq2XqIfnzT9bPuLfaMn-R43yLBMxMcgSrMw2/s1600/92.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1j-rcMQseDN7tGDiSBqkVcA8Eou_wtTbQNyuTYJ75kVoLUrp4DtUbLopBhY3QVBa2oLh458XkBOg-pzn5fgBANbQPS2pY9KopAIokMmxFQq2XqIfnzT9bPuLfaMn-R43yLBMxMcgSrMw2/s200/92.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.aleftrust.org/team/les-lancaster/" target="_blank">Les Lancaster</a> </td></tr>
</tbody></table>
<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/AVvXsEidKBcNxx32yEsv9GoQIa_5LJu143iEITMfG7VQpcmb7ihXgqgzHNpUm30VonFfYkHljYFwQdSzlixnCckvPY29UbTKYg5bIia2z1IjN4sKiR14u44Q-gz_tVHgYdWZ5NVCeRaXOrvNcmVc/s1600/93.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidKBcNxx32yEsv9GoQIa_5LJu143iEITMfG7VQpcmb7ihXgqgzHNpUm30VonFfYkHljYFwQdSzlixnCckvPY29UbTKYg5bIia2z1IjN4sKiR14u44Q-gz_tVHgYdWZ5NVCeRaXOrvNcmVc/s200/93.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.aleftrust.org/team/jessica-bockler/" target="_blank">Jessica Bockler</a></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<br />
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;"></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
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<br /></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
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<br /></div>
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<div class="MsoNormal" style="text-align: justify;">
<i><span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">The
quest to explore human experience lies at the core of all theatre, most other
artistic endeavours, and all study of the mind. For most of the 20<sup>th</sup>
century, conventional methods of enquiry across the natural and social sciences
focused on the objective and uninvolved description, definition and prediction
of the objects of their research. Quantitative methods were favoured over
qualitative approaches which were “recommended only as interim strategies that
might provide suggestions or hints for later quantitative and/or experimental
determinations” (Braud and Anderson, 1998, 5). It was the general assumption
that valid knowledge of the world could be obtained only through neutral observation
of external phenomena. In this drive for objectivity humanity’s unique capacity
for inner experience, for self-awareness, introspection and intuition was
almost entirely ignored. The fundamental binary opposite between the outer
objective and the inner subjective led to the assumption that the domains of
objective science and of subjective arts and humanities are mutually exclusive.
</span></span></i></div>
<i>
</i><br />
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<i>
</i><br />
<div class="MsoNormal" style="text-align: justify;">
<i><span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">There
have been recent attempts to achieve multi-disciplinarity and integration of
disciplines. Such attempts tend to emphasise process over state and performance
over text, participation, interconnection, appreciation and transformation over
detached description, prediction and control (Braud and Anderson, 1998). These
recent attempts do not exist in isolation, nor are they new. In fact, the results
of such attempts approach long-held ideals such as direct experience of Plato’s
<span style="mso-bidi-font-style: normal;">idea</span>, and Schiller’s principle of <span style="mso-bidi-font-style: normal;">universality</span> (1789). Those ideals are
eclectic, interweaving, interactive, transcultural, transpersonal, and
holistic, and the approaches seek to be rigorous, as well as respectful, in a
methodological sense. The changing view of experience opened up by these recent
developments places emphasis on the subjective, <span style="mso-bidi-font-style: normal;">first person</span> dimension (Varela and Shear, 1999) in areas including
the perception of time, the nature of emotions, embodied cognition, and access
to tacit and intuitive means of gaining knowledge. These foci emerge as four
distinct <span style="mso-bidi-font-style: normal;">areas of experience</span> (AoE)
central to the project: time, emotions, embodied cognition, and intuition. </span></span></i></div>
<i>
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<i>
</i><br />
<div class="MsoNormal" style="text-align: justify;">
<i><span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Over
the past three decades, researchers in the human sciences have become
increasingly aware of the limitations of so-called objective research practices
and have begun to develop approaches which acknowledge subjective experience as
a valid source of knowledge (Polkinghorne, 1983). Braud and Anderson assert
that a complementary, transpersonal research paradigm has begun to emerge which
“can more adequately apprehend the complexity, breadth, and depth of our world
and of humanity” (1998, 6) by offering a less constrained, less fragmented and
more meaningful picture of human nature and potential. The new paradigm
repositions human experience, allowing for a multiplicity of voices and
relating the individual to the larger whole within which all experience is
co-created. It moves away from purely instrumental and utilitarian values that
emphasise the need to manipulate and control, and it champions participation
and appreciation, placing greater value on complexity, ambiguity and
complementarity. The benefits that this new paradigm generates can affect all
domains of human society, reshaping social, cultural and economic norms and
perspectives. In the field of health, for example, we are witnessing the
emergence of a new, participatory recovery model which expands medical
treatment options by enhancing partnership work and self-directed care, leading
to greater choice, control and empowerment for people experiencing illness (McNiff,
1998; Care Services Improvement Partnership, 2007; mental Health Foundation,
2014).</span></span></i></div>
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<i>
</i><br />
<div class="MsoNormal" style="text-align: justify;">
<i><span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">A
number of new research methods have evolved which emphasise the value of
alternative, participatory modes of knowing, e.g., Intuitive Inquiry (Anderson
1998), Organic Research (Clements, 2004) and Heuristic Inquiry (Moustakas 1990).
Within these approaches “[R]eality is contacted through physical sense data,
but also [...] through a deep intuitive inner knowing. Awareness includes
(objective) sensation as well as (subjective) intuitive, aesthetic, spiritual,
[and] noetic […] aspects. Understanding comes [...] from identifying with the
observed, becoming one with it” and the “entire spectra of states of consciousness
are of interest […]” (Moustakas, 1990, 10-11)—a notion echoed by Tart (1972)—who
advocated the development of <span style="mso-bidi-font-style: normal;">state-specific</span>
sciences, suggesting that non-ordinary states of consciousness are likely to
yield new insights which are not accessible by conventional methods. </span></span></i></div>
<i>
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<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<i>
</i><br />
<div class="MsoNormal" style="text-align: justify;">
<i><span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Alongside
alternative modes of knowing these new research methods embrace an extended
range of tools for data collection and analysis, allowing the researcher to
engage with the topic in a holistic, deeply embodied and immersive way. The researcher’s
immersion in the research topic may include active engagement with the
practices of research participants (e.g., through workshops and seminars),
contemplative and meditative practice, body work, dream analysis, and work with
symbols and metaphors, highlighting the creative dimensions of the
complementary research approaches.</span></span></i></div>
<i>
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<i><span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">The
trend just discussed is growing, but as it grows it also meets with increased objection,
which developed from ridicule of not taking the trend seriously to harsher
criticism as it is being perceived as a threat to the status quo. It would be
well worth exploring the extent to which the UK’s Research Excellence Framework
is in fact a suitable tool for bricking in the status quo. Many disciplines
still do not “talk to each other”, or at least not fully, openly, directly,
intentionally, freely and effectively. The same applies to sub-areas within
disciplines, old and new, because each area considers its position and other
positions in the discipline as mutually exclusive rather than as positions
that, while different, add to the overall understanding because they are
approaching the same phenomenon from different angles.</span></span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_dd4Uy6jUzid6o0EeLW3r0cWYkH02LI50jn5aiTaIQyFkkOpIsnftTRdp7RX_Py-wegeIQXrGuAK32YtOK-BtHpfS2To73F6ZZCk9C54ZPOzVZw2L2ppVgXbamxlI2M3S5N8541yonYJP/s1600/94.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_dd4Uy6jUzid6o0EeLW3r0cWYkH02LI50jn5aiTaIQyFkkOpIsnftTRdp7RX_Py-wegeIQXrGuAK32YtOK-BtHpfS2To73F6ZZCk9C54ZPOzVZw2L2ppVgXbamxlI2M3S5N8541yonYJP/s200/94.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><h1>
<a href="http://www.psychology.ucsd.edu/people/profiles/vramachandran.html" target="_blank"><span style="font-size: x-small;"><span style="font-weight: normal;">Vilayanur Ramachandran</span></span></a></h1>
</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG60atftioTPZfKhJwnza3y6CMFUyU65NC2fUgER8BHLsszngupqAtjv94XlVrjsqYD9UQLztFOnsB2KPtHrKg648vnNtfMCzXRTPBMNrrUZYBJa3YuBJK2pcuMHBnBhDPtQw6Uz_TMnPU/s1600/91.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG60atftioTPZfKhJwnza3y6CMFUyU65NC2fUgER8BHLsszngupqAtjv94XlVrjsqYD9UQLztFOnsB2KPtHrKg648vnNtfMCzXRTPBMNrrUZYBJa3YuBJK2pcuMHBnBhDPtQw6Uz_TMnPU/s200/91.jpg" width="152" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">C.P.Snow</td></tr>
</tbody></table>
</span></span><span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Despite
these efforts, therefore, we are still stuck, to a large extent, with a world
view that is based on binary opposites. There is, in particular, still the gap
between the sciences and the humanities identified by C.P.Snow (1905-1980) </span></span><span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">in
his Rede lecture of 1959. </span><span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman";">I met
neuroscientist Vilayanur S. Ramachandran at the 2002 ‘Towards a Science of
Consciousness’ conference in Tucson, Arizona, and I asked him ‘from your
background, you were brought up in India, aren’t you aware that there is more
to life than what science can deal with at the moment?’. He said ‘Yes of course
I am’. He was very lively and passionate, as he always is, about that as well: ‘but
I am scientist. As a scientist I can talk only in terms of what science can
achieve at any point in time, but I am also trying to push the boundaries of
science for science to be able to grasp a little bit more of what is still out
there, and which I am aware of’. </span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; height: 192px; text-align: right; width: 185px;"><tbody>
<tr><td style="text-align: center;"><a href="https://www.dla-marbach.de/en/archive/friedrich-schiller/" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgu3H94q2580a-qBIofDlKwmA_v8R_fXsy-fV9N9jyBnrdWA2Y5Y-YaJHTpkXWDPd3T-tHFU8nJPJ81rPMIVu5-ZgPdkH3364VY_uZ_ScRybQLVumJewTyIlq7eH_KSGFbBF-HSJmqtw26M/s200/95.jpg" width="195" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.dla-marbach.de/en/archive/friedrich-schiller/" target="_blank">Friedrich Schiller</a></td></tr>
</tbody></table>
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<span style="color: blue;"><span lang="EN-US" style="font-family: "palatino linotype" , serif; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman";">What we need is, to invoke Schiller, “philosophical
minds” to identify synergies and links between areas that may come across as
not related, rather than sticking to the status quo of fragments that provide a
safe haven to “bread scholars” (1789) who have learnt a whole lot about the fragments,
but who see any development that might challenge their knowledge about
fragments as a threat to their own very essence, and who will thus fight genuine
progress with all possible means.</span><span style="font-family: "palatino linotype" , serif;"></span></span></div>
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<div class="MsoNormal" style="text-align: justify;">
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<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-layout-grid-align: none; text-autospace: none; text-indent: -14.2pt;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Anderson,
R. (1998). Intuitive inquiry: A transpersonal approach. In W. Braud & R.
Anderson, <i>Transpersonal research methods for the social sciences: Honoring
human experience </i>(pp. 69 </span><span style="font-family: "palatino linotype" , serif; mso-bidi-font-family: "Cambria Math";">‐</span><span style="font-family: "palatino linotype" , serif;">
94). Thousand Oaks, CA: Sage Publications. </span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-layout-grid-align: none; text-autospace: none; text-indent: -14.2pt;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Braud,
W. & Anderson, R. (1998). <i>Transpersonal Research Methods for the Social
Sciences</i>. London: Sage, p. 5.</span></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-layout-grid-align: none; text-autospace: none; text-indent: -14.2pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-layout-grid-align: none; text-autospace: none; text-indent: -14.2pt;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Care
Services Improvement Partnership (CSIP), Royal College of Psychiatrists
(RCPsych) and Social Care Institute for Excellence (SCIE), 2007. URL: <a href="http://www.scie.org.uk/publications/positionpapers/pp08.pdf">http://www.scie.org.uk/publications/positionpapers/pp08.pdf</a>,
accessed on 13<sup>th</sup> September 2014. 2.)</span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-layout-grid-align: none; text-autospace: none; text-indent: -14.2pt;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Clements,
J. (2004). Organic inquiry: toward research in partnership with spirit. <i>Journal
ofTranspersonal Psychology, </i><span style="mso-bidi-font-weight: bold;">36 </span>(1),
pp. 26 </span><span style="font-family: "palatino linotype" , serif; mso-bidi-font-family: "Cambria Math";">‐</span><span style="font-family: "palatino linotype" , serif;">
49.</span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-layout-grid-align: none; text-autospace: none; text-indent: -14.2pt;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">McNiff,
S. (1998). Art-based Research. London & Philadelphia: Jessica Kingsley, pp.
15-18</span></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-layout-grid-align: none; text-autospace: none; text-indent: -14.2pt;">
<br /></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Mental
Health Foundation, 2014. URL: <a href="http://www.mentalhealth.org.uk/help-information/mental-health-a-z/R/recovery/">http://www.mentalhealth.org.uk/help-information/mental-health-a-z/R/recovery/</a>,
accessed on 13<sup>th</sup> September 2014.</span></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Moustakas,
C. (1990). <i>Heuristic Research: Design, Methodology and Applications</i>.
London: Sage.</span></span></div>
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<br /></div>
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<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Polkinghorne,
D. (1983). <i>Methodology for the human sciences: Systems of inquiry</i>.
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<br /></div>
<div class="MsoNormal" style="margin-left: 14.2pt; mso-layout-grid-align: none; text-autospace: none; text-indent: -14.2pt;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Schiller,
F. 1789/1972. <i style="mso-bidi-font-style: normal;">The Nature and Value of
Universal History: An Inaugural Lecture</i>. <i style="mso-bidi-font-style: normal;">History and Theory</i> 11 (3): 321-334.</span></span></div>
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<span style="color: blue;"><span style="font-family: "palatino linotype" , serif;">Tart,
Charles T. (1972). States of consciousness and state</span><span style="font-family: "palatino linotype" , serif; mso-bidi-font-family: "Cambria Math";">‐</span><span style="font-family: "palatino linotype" , serif;">specific sciences. <i>Science</i>,
<span style="mso-bidi-font-weight: bold;">176</span>, pp. 1203 </span><span style="font-family: "palatino linotype" , serif; mso-bidi-font-family: "Cambria Math";">‐</span><span style="font-family: "palatino linotype" , serif;">1210.</span></span></div>
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<br /></div>
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Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-23898100004117654642017-04-04T14:14:00.003+01:002017-04-05T11:11:10.495+01:00(Dis-)Inherit the Wind--Bridging non-existing gaps<div style="text-align: justify;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<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" 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"/>
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<div class="MsoNormal">
<span style="color: #274e13;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">The play <i style="mso-bidi-font-style: normal;">Inherit
the Wind</i> was premiered in 1955. Written by Jerome Lawrence and Robert Edwin
Lee, the play takes up, with considerable poetic license, a famous court case
of May 1925, in which substitute high school teacher John T. Scopes was accused
(and convicted and fined) of having taught evolution in contravention of the
law. The play served as<span style="font-family: "palatino linotype" , serif;"> the bas<span style="font-family: "palatino linotype" , serif;">is for a <span style="font-family: "palatino linotype" , serif;">film (</span></span></span></span><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">1960) with Spencer Tracy as the star lawyer for the
defence, and Frederick March as the star prosecutor, and 1966, 1988 and 1999 TV
films with Melvyn Douglas and Ed Begley, Jason Robards and Kirk Douglas, and Jack
Lemmon and George C. Scott, respectively, as the opposing lawyers.</span></span></div>
<br />
<br />
<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/AVvXsEigT6nbbvQbGSEYSPYMk19RiI_F1HjrlCRj3RNCB5C_0qQwK-phs_IjfacVE-kRdTf3dzi_-dCQ_SczoKK1AhidBvR9CA46UmzIt5PBUuvb-2RviW8W4tYDlPXk5Lmmas5jVhepjjzHm3ro/s1600/96.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigT6nbbvQbGSEYSPYMk19RiI_F1HjrlCRj3RNCB5C_0qQwK-phs_IjfacVE-kRdTf3dzi_-dCQ_SczoKK1AhidBvR9CA46UmzIt5PBUuvb-2RviW8W4tYDlPXk5Lmmas5jVhepjjzHm3ro/s200/96.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "palatino linotype" , serif;"><a href="http://complexhollywood.com/wordpress/2017/02/10/disinherit-the-wind-2/" target="_blank">Matt Chai<span style="font-family: "palatino linotype" , serif;">t</span></a></span></td></tr>
</tbody></table>
<span style="color: #274e13;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">A revival of the original 201<span style="font-family: "palatino linotype" , serif;">5</span> production of Matt Chait’s <i style="mso-bidi-font-style: normal;">Disinherit the Wind</i> is currently playing
at the <a href="http://complexhollywood.com/" target="_blank">Complex Theatre, 6576 Santa Monica Boulevard, Hollywood</a>. Chait plays the
main character, Dr Cates, who has gone to court to achieve his reinstatement and
compensation after having been fired from a tenured professorship in a
prestigious university department of biology. </span></span><br />
<br />
<span style="color: #274e13;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;"></span></span><br />
<br />
<br />
<br />
<br />
<span style="color: #274e13;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">The reason for his dismissal is
the accusation that he <span style="font-family: "palatino linotype" , serif;">has </span>brought pseudo-religious contents to his teaching of science—in other
words, the precise opposite of the case against Scopes (named Cates in the 1955 play!) in the original 1925 trial and the 1955 play from which the 2015 play
takes its title. There is a full-length video of the 2015 production online,with mainly the same cast as the 2017 revival. </span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/MOQQYe9GFyo/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/MOQQYe9GFyo?feature=player_embedded" width="320"></iframe></div>
<span style="color: #274e13;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">At the centre of Chait’s play,
set in a court room as <i style="mso-bidi-font-style: normal;">Inherit the Wind</i>,
is an exchange between Cates and the representative expert witness of the
defence, evolutionary biologist Dr Robert Hawkins (clearly modelled on Richard
Dawkins). </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #274e13;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #274e13;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">Both plays are based on positions of the scientific
concept of evolution in Darwin’s terms (and even those terms are controversial,
and far from unambiguous, in both plays), and the religious belief that the
world was created by God. According to both plays, the positions of evolution
and creationism, of science and religion, are diametrically opposed and
mutually exclusive. Cates in <i style="mso-bidi-font-style: normal;">Disinherit
the Wind</i> seems to formulate a bridge between the two positions, but does
not quite get there. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #274e13;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #274e13;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">Here's my p<span style="font-family: "palatino linotype" , serif;">os<span style="font-family: "palatino linotype" , serif;">ition <span style="font-family: "palatino linotype" , serif;">on this. </span></span></span>Positions within the frame of subjective monism hold
that consciousness is primary, it is omnipresent, it is the source and
foundation of everything there is, without exception, and human beings can
experience it on its own (as pure consciousness), and together with the
contents of consciousness. Taking this position as axiomatic, science can contribute
to explaining <b style="mso-bidi-font-weight: normal;">how </b>human beings
experience consciousness. “How” here means what the processes and procedures
are that take place in our bodies, predominantly probably (according to current
insights of science) in the brain, and that enable the experience of
consciousness. In explaining, in this way, how we can experience consciousness,
science does not (have to) reduce that experience to brain processes. The
experience of pure consciousness together with waking or dreaming or sleeping
is an exciting, awe-inspiring, “major”, apparently inexplicable and therefore
possibly also mysterious experience that some of us like to describe in terms
of religious experience. If we then find out, through science, that this
experience correlates with activity in a specific region of the brain, for
example, this insight does not take away from the experience itself, it does
not somehow (have to) reduce the experience to something less extraordinary
than if we do not know which area of the brain may be involved in the
experience. On the contrary, knowing about the insights of science adds further
to our appreciation of our own complexity, adds to the wonder of life. </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #274e13;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="color: #274e13;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">We can then go on to consider the nature of
consciousness (how we think, feel and act, why we think, feel and act as we do,
and what it feels like to think, feel and act as we do). We can experience it as
pure consciousness, and science can seek to tell us how the brain enables that
experience. Different knowledge traditions across time and across cultures have
sought to capture “consciousness” in their own ways, always as direct experience,
and have captured the experience in their specific terminology. Experiences of
desirable (altered?) states of consciousness are central to the world religions
and philosophical traditions. However, none of these religions and traditions
can lay claim to exclusivity, especially not at the expense of other religions
or traditions. Neither are, as I have shown above, religious and philosophical
traditions at odds with science or vice versa. They can, and should, work
together to enhance our knowledge about life. It is far too exciting to be
limited to one approach, one religion, one science!</span></span></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com1tag:blogger.com,1999:blog-1691910621333814851.post-69240636201941653542017-04-02T17:35:00.001+01:002018-01-01T17:15:52.893+00:00Memories: Deutsche Oper am Rhein Düsseldorf<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpAF9ABXY8Gow3nrfwAF9OAuhOZydVloIst-payFA7HYyqmRCaqfE7OxhbHl6JxlheV6X5YqacQLFOAI21YBu30kGyuqqCRQy0k_CUSxjNp4kXknB7x6xQduzIGd4nymUP6gsxYcDmCTx2/s1600/62.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpAF9ABXY8Gow3nrfwAF9OAuhOZydVloIst-payFA7HYyqmRCaqfE7OxhbHl6JxlheV6X5YqacQLFOAI21YBu30kGyuqqCRQy0k_CUSxjNp4kXknB7x6xQduzIGd4nymUP6gsxYcDmCTx2/s200/62.jpg" width="236" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAgtZOI2lkD99llDul6DqaQVs7J_BoI-87ePJeM75RWyySJKvhDABXApdE-1_HHFRmTSq3guI0rbsL7IZeCmPCg_Qt7qLVCYN5bxEgMxxTwfR2xtCz1hK6rDMDKb7G9jzBuhNBFAy_FzLY/s1600/61.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAgtZOI2lkD99llDul6DqaQVs7J_BoI-87ePJeM75RWyySJKvhDABXApdE-1_HHFRmTSq3guI0rbsL7IZeCmPCg_Qt7qLVCYN5bxEgMxxTwfR2xtCz1hK6rDMDKb7G9jzBuhNBFAy_FzLY/s200/61.jpg" width="236" /></a></div>
<div style="text-align: center;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt;"><a href="http://operamrhein.de/de_DE/opernhaus-duesseldorf" target="_blank">Deutsche Oper am Rhein, Düsseldorf</a></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: center;">
<br /></div>
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<br /></div>
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<br />
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt;">The
recent opportunity to book for a performance of <i style="mso-bidi-font-style: normal;">Die Walküre </i>as part of the second of two <i style="mso-bidi-font-style: normal;">Ring</i> cycles at the Vienna State Opera conducted by Peter Schneider
sent me on a road of memories to my opera-going years at Deutsche Oper am Rhein,
Düsseldorf, from the mid-1970s to the late 1980s. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: blue;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt;"></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
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<span style="color: blue;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt;">The
artistic director was Grischa Barfuss, from 1986 Kurt Horres. <b>Peter Schneider</b>
was Erster Kapellmeister from 1968-1978, and General Music Director in Bremen from
1978-1985. Until the end of the Barfuss-era in 1986, Schneider carried on
appearing in Düsseldorf as guest conductor, for some Verdi, but mainly Mozart,
Strauss and particularly Wagner, esp. since his 1981 Bayreuth debut, because
general music director Wakasugi was only beginning to develop his Wagner repertory. </span></span><br />
<br />
<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/AVvXsEgQnvBjs8Wrq7Aia5bHIGKSChN8u146vvHoVYkkpC6n5mQNdPAWFY4Sz-U6b8-B1PunHzifmZJMzVq3e8QjLWA25-UlQZ5R3Ya1ePuVPbpj4jm0S1lHmTunlRVhWAEXkbXOOeaAAMrjGTqB/s1600/63.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQnvBjs8Wrq7Aia5bHIGKSChN8u146vvHoVYkkpC6n5mQNdPAWFY4Sz-U6b8-B1PunHzifmZJMzVq3e8QjLWA25-UlQZ5R3Ya1ePuVPbpj4jm0S1lHmTunlRVhWAEXkbXOOeaAAMrjGTqB/s320/63.jpg" width="276" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.bayreuther-festspiele.de/fsdb/personen/9245/index.htm" target="_blank">Peter Schneider</a></td></tr>
</tbody></table>
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<span style="color: blue;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt;"> Tickets
came on sale on the Sunday before the next month, with the box office opening
at 10am. Brochures with the full schedule including cast became available about
a week before those Sundays. As I always decided which performances to attend
depending on the cast, in the years before mailing lists had been introduced, I
would phone the opera’s general office every day from two weeks before the
ticket sale started, and had a brochure sent to me in the post. For the Sundays
of the ticket sale, I would turn up between 8 and 9am, depending on the likelihood
of demand, and would usually be able to get the tickets I wanted (third tier,
last seat on the side closest to the stage). </span></span></div>
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<br /></div>
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<span style="color: blue;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt;">The
house ensemble consisted of many excellent singers, such as tenors William Holley, <a href="https://www.youtube.com/watch?v=j-qLJVdnqKI" target="_blank">Georgi Tscholakov</a>, <a href="https://www.youtube.com/watch?v=iDJY2kRkNx4" target="_blank">Janos B. Nagy</a>, and a young Peter Seiffert. The major
Verdi baritone was <a href="https://www.youtube.com/watch?v=U59CuFJG2cA" target="_blank">Eugene Holmes</a>, <span style="font-family: "palatino linotype" , serif;">a<span style="font-family: "palatino linotype" , serif;">n excellent Mozart bass-baritone was <span style="font-family: "palatino linotype" , serif;">T</span>oshimitsu Kimura </span></span>and <a href="https://www.youtube.com/watch?v=BLQ0nlnEcF4" target="_blank">Mileva (Milica) Buljubasic</a> was the leading
lyric soprano after Cilla Zentai. For Wagner, the opera worked with members of
the ensemble and guests. In the early 1980s, for example, <a href="https://www.youtube.com/watch?v=xko5zXIkgHc" target="_blank">Simon Estes</a> made his
debut as Wotan in a Düsseldorf Ring cycle, with <a href="http://mais.uol.com.br/view/dhs82oajooru/killebrew-amp-jones--waltrautes-erzahlung-04020E983560C8816326?types=A&" target="_blank">Gwendylyn Killebrew</a> who sang
Fricka in many of the cycles. <a href="https://www.youtube.com/watch?v=PgLyyVFPCoE" target="_blank">Manfred Jung</a> sang the heroic tenor parts,
Siegmund, Siegfried, Tristan, and Florestan in Beethoven’s <i style="mso-bidi-font-style: normal;">Fidelio</i>. <a href="https://www.youtube.com/watch?v=wXoAjZoV5W0" target="_blank">Berit Lindholm</a> was Brünhilde, Isolde, Elektra and Salome.
Other singers for Wotan were Leif Roar, Norman Bailey, and Donald McIntyre. Carla
Pohl and Sabine Hass were Sieglinde, an on one occasion <a href="https://www.youtube.com/watch?v=k4Uwq_GhJUQ" target="_blank">Hildegard Behrens</a> took
over that part at very short notice from the scheduled soprano who had been
taken ill. <a href="http://podcast.getwebreader.com/mp3/classicaradio-archivio-storico-r-wagner-lohengrin-atto-1/2012/12/889-446011" target="_blank">Peter Meven</a>, Malcolm Smith and <a href="https://www.youtube.com/watch?v=lYU9S4YwrSA" target="_blank">Hans Tschammer</a> were the company’s principal
bass singers, sometimes supported by <a href="https://www.youtube.com/watch?v=Pacm_muJ5DM" target="_blank">Karl Ridderbusch</a> as a guest (Rocco in <i style="mso-bidi-font-style: normal;">Fidelio</i>, Hunding in <i style="mso-bidi-font-style: normal;">Walküre</i>, Gurnemanz in <i style="mso-bidi-font-style: normal;">Parsifal</i>).
Other conductors were Friedemann Layer, Jiri Kout, Christian Thielemann, Alberto
Erede, Arnold Quennet, and Yoram David.</span></span><br />
<br />
<br />
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<span style="color: blue;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt;">It
was at the opening night of the first new production under the artistic
directorship of Kurt Horres, in 1986, that I encountered the one and only
scandal I experienced in all of my theatre- and opera-going. The audience had become
accustomed to profound, beautiful and in that best sense conservative
productions in the long era under Grischa Barfuss. Kurt Horres set his agenda
by inviting a representative of Regietheater for his first new production, of
Verdi’s <i style="mso-bidi-font-style: normal;">Macbeth</i>. New music director
Hans Wallat conducted, and the part of Lady Macbeth was cast with Gabriele Schnaut.
For the scene in which Macbeth is shown to suffer a nightmare, the curtain
opened to reveal a vagina the size of the entire height of the stage, and
little people specially hired for this scene crawled out of that vagina. Within
seconds the audience erupted into tumultuous booing and shouting, which ended
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the stage and pleaded with the audience to allow the performance to proceed.
The director decided not to take a curtain call at the end of the performance. </span></span></div>
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<span style="color: blue;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt;">With
two or three ring cycles per year, those attending them regularly would
recognise and acknowledge each other, sometimes also talk. One year, regulars
of two cycles began to comment, towards the end of the second cycle, about one
spectator who had been attending both cycles. He aroused curiosity and
comments. He looked strikingly out of place in an opera house, as if it was an excruciatingly
painful and boring experience for him. So why would be bother to turn up? A
year or so later I was at home flicking through TV channels and suddenly saw
this opera spectator on the screen. It was a report, in a popular and highly
acclaimed investigative journalism programme, about male escorts. The strange opera
spectator was a male escort by profession, a more mature escort (late 40s,
thinning hair) for more mature female clients. In the interview on TV he said
that he was keen on attracting, and did attract, female clients from the more
sophisticated levels of society. He was successful, he felt, in this endeavour
not only because of his physical / sexual profile but because of his engagement
with culture: he read the latest novels, watched the latest films and also (he
said with a slight wince) went to opera performances. </span></span></div>
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<span style="color: blue;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt;"><span style="font-family: "palatino linotype" , serif;">I remember a hila<span style="font-family: "palatino linotype" , serif;">rious occurrence<span style="font-family: "palatino linotype" , serif;"> in </span></span></span>a performance of <i style="mso-bidi-font-style: normal;">Siegfried</i>. Manfred Jung is about to find the piece of wood on stage
from which he crafts the flute. Only he does not find it—and leaves the stage
mid-scene. <a href="https://www.youtube.com/watch?v=NfBRRyrvtw4" target="_blank">Peter Schneider</a> had to stop the orchestra, just broadly shrugging
his shoulders in surprise. After a few minutes, Jung returned, piece of wood in
hand, and proceeded as if nothing had happened. Jung’s singing was ever-reliable,
but the voice could be throaty and the higher register of the voice narrow.
After he re-emerged with the flute, however, for whatever reason, until the end
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<br /></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-27253926709763989732017-03-30T13:33:00.000+01:002017-03-30T13:33:52.791+01:00"Corporate Politeness" as a new facet for theatre<!--[if gte mso 9]><xml>
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<![endif]-->I believe that theatre (plays and productions) should become aware of a new way of communication that you find in banks in the way they handle customer services. I would like to call this new kind of communication <i>corporate politeness</i>. It is a sophisticated way of unmistakably establishing the bank’s power and superiority that seems to be taught to employees across the sector, because you can observe it and experience it across different companies of the same sector. <br /><br /> In a local branch of a major bank, the interior design of the public hall has been changed relatively recently to reduce the customer services positions and add to the range of machines. In the hall, one or two employees approach customers who have joined the queue for the customer services desk and ask them why they have come into the bank today. The tone is slightly reproachful, many people react with some alarm at being approached and stutter in their response. Some are told off that they should really be using the machines for whatever they have come in, and several machines are free, and the customer services person can help them if they need help using the machine. If a machine can be used, customers do not have the choice of using the machine or a person. And the bank clerk’s tone of voice makes that very clear to them, in addition to making them feel inferior if they do need the help offered. Those customers whose business cannot be handled by the machines are told to stay in the queue to the customer service desks, and asked to please move forward a few steps from where they were before. Again the tone to stay, and to move, is reproachful, and soon the person next in line is asked to move close behind you, so that you feel their breath on your neck. The hall is vast, the hall is empty, there is no need for such crowding, but anything to make the customer politely uncomfortable seems to be used by the clerks. <br /><br />In a different bank, I have submitted a letter authorising me to withdraw money from a savings account, a form to the same effect after the authorising letter was not considered sufficient for the bank to rule out attempted fraud, and my passport. The cashier looks at all three, scrutinizes me in relation to my passport photo, several times, very thoroughly, and then asks me to tell him my name, my date of birth and my address. My name and date of birth is on all three documents he has just scrutinized, and my mailing address on two. His tone has the corporate politeness characteristic of being reproachful. When I hesitate and gesture towards the three documents, he repeats the same request word for word, more slowly, more loudly, more reproachfully. Another cashier in the background motions to the area obscured from view and can be heard saying that the customer (meaning me) seems to become agitated and aggressive. I neither seem nor am either, so this is a further component of corporate politeness: when the cashier has to repeat his request, it means to her/his colleagues that the customer is being difficult. <br /><br />I have not yet noticed this tone of corporate politeness in the theatre—it will be a challenge for actors to capture the sophisticated nuances it encompasses.Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-5885144329032256272017-03-28T12:02:00.003+01:002017-03-28T12:02:34.398+01:00Opera - Scenography in Barcelona/Cologne Walküre<!--[if gte mso 9]><xml>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">In my earlier post on <i>Opera-seats and
productions</i>, I discussed the importance of storytelling—and elaborated that any
opera production will tell some kind of story: what counts is whether the story
makes sense. The set design contributes much to the story. The scenography by
Patrick Kinmonth for Robert Carsen’s 2014 production of <i style="mso-bidi-font-style: normal;">Die Walküre</i> at the Gran Teatre del Liceu, Barcelona, taken over from their production in Cologne, Germany, is an example of
aspects that do not work fully.</span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";"><br /></span></i></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">When the curtain rises on the first Act of <i style="mso-bidi-font-style: normal;">Die Walküre</i>, we expect to see the inside
of Hunding’s place.<span style="mso-spacerun: yes;"> </span>What we do see is a
set in grey which consists of a range of crates, wooden or metal and other
boxes loosely arranged like a square around a real burning log fire.<span style="mso-spacerun: yes;"> </span>The various boxes and crates will be used in
the course of the Act to serve as seats for various characters.<span style="mso-spacerun: yes;"> </span>To the right of this arrangement is what
looks like and turns out in the end to be, a tree trunk lying on the ground. It
is not in the soil, and that means dead, with a piece of cloth placed over one
end of it which is where Sieglinde will be revealing Wotan’s sword in due
course.</span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">When the curtain rises the scene is not empty
as expected but a number of characters, men in various kinds of combat gear,
clearly soldiers, come on and add to the fortification of this area by piling
up further crates on top of the ones that exist already.<span style="mso-spacerun: yes;"> </span>In the background one soldier climbs up on
one of the rostra at the back.<span style="mso-spacerun: yes;"> </span>When all
the other soldiers have left the scene, this soldier comes forward and is
revealed as Siegmund who now starts the opera with his first line indicating
that he is exhausted, that no matter where he is, this is where he has to take
a rest.<span style="mso-spacerun: yes;"> </span>When Sieglinde joins him shortly
afterwards in the room, assuming that it is her husband who has come back home,
she is revealed to be wearing the same kind of combat gear of grey khaki
trousers, shirt and jacket.<span style="mso-spacerun: yes;"> </span></span></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/AVvXsEiURqhXPaBmO79EYBEgYjKjKwHsnM3mo-DFOmujUPiKcD2k58jy01fEvTS-3QSeSp-XtxVi9bJ7hyphenhyphenE87SKL2Rn5tqLZWEOvnffKJTeT8C2ypm7SFc1dC9HdGwrA6ITUfcHDv50xGSSwgLaf/s1600/21.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiURqhXPaBmO79EYBEgYjKjKwHsnM3mo-DFOmujUPiKcD2k58jy01fEvTS-3QSeSp-XtxVi9bJ7hyphenhyphenE87SKL2Rn5tqLZWEOvnffKJTeT8C2ypm7SFc1dC9HdGwrA6ITUfcHDv50xGSSwgLaf/s1600/21.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://operamylove.com/2014/04/10/die-walkure-in-barcelona/" target="_blank">Act 1 Scene 1, <i>Walküre</i> Barcelona</a></td></tr>
</tbody></table>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">Their interaction when they see each other
first, until after the point when Hunding returns, is well guided by the
director, independent of the setting and of the costumes.<span style="mso-spacerun: yes;"> </span>The way they look at each other, the way they
are drawn to each other right from the beginning, the way each one fights this
attraction for different reasons, Siegmund because he is used to bringing bad
luck to people and doesn’t want to bring bad luck to this woman whom he feels
attracted to, and Sieglinde because she was married against her will to a
horrible man, Hunding, who has treated her very badly as will be revealed
later.<span style="mso-spacerun: yes;"> </span>She is torn between loyalty to
the institution of marriage if not to that particular husband and her feelings
for a man who is not her husband.</span></div>
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<br /></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">All these nuances are brought out very
carefully and consistently and also in line with the music that accompanies the
words of the libretto.<span style="mso-spacerun: yes;"> </span>When Hunding does
arrive he does not arrive on his own but with a number of his soldiers whose
leader he clearly is.<span style="mso-spacerun: yes;"> </span>They come armed
with guns and point them at the assumed intruder, but after Hunding has
assessed the situation, realising that Siegmund is without a weapon he makes
them drop their weapons and sends them away within a short period of time.<span style="mso-spacerun: yes;"> </span>It becomes very clear straight away that he
is a nasty piece of work, from the way he deals with his soldiers, the way he
deals with Siegmund and the way he deals with his wife.</span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">The entire rest of the scene takes place in
this arrangement of crates and boxes in which Siegmund tries to find suitable
weapons:<span style="mso-spacerun: yes;"> </span>he is told by Hunding that
Hunding was one of those who tried to follow and kill Siegmund and that while
he is safe for the night, because of the hospitality that he had offered, but the
next day, Hunding will fight Siegmund, so Siegmund needs a weapon.<span style="mso-spacerun: yes;"> </span>He looks through the boxes and creates, finds
a crate full of weapons but Hunding comes back and locks it.<span style="mso-spacerun: yes;"> </span>The relationship between Hunding and Sieglinde
also becomes clearer in the course of their interaction.<span style="mso-spacerun: yes;"> </span>Hunding grows suspicious and when he requests
Sieglinde to prepare for the night and to join him in bed he hits her full
blast into the face so that she collapses with a loud cry. There is an
interesting reaction from Siegmund: he rises instinctively, <span style="mso-spacerun: yes;"> </span>storms towards the couple but stops himself at
the last moment because Hunding has a weapon and he doesn’t.</span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">The light for this scene comes throughout and
predominately from the right hand side of stage, and gets brighter when Spring
is announced through cold, clear moon light. When Sieglinde shows Siegmund the
sword that Wotan had placed in the tree trunk, she lifts the coat from it but
already that movement moves the sword out of the trunk a little bit. This is a
let-down of the props design here. When Siegmund pulls the sword out of the
tree trunk—which allegedly many strong men have tried and not been able to—it
is just too easy for him to do this and the sword is also ridiculously short
and flimsy: unnecessarily disappointing.</span></div>
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<br /></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">In the interaction between characters there
are nice nuances, for example, Siegmund quite naturally adds a log to the log
fire when the fire goes down.<span style="mso-spacerun: yes;"> </span>When
Hunding comes home he is about to do the same probably following common
practice and is surprised when he finds a log has been added to the fire
already and just puts the additional log that he wanted to put on the fire next
to the fire with a bit of a grumpy gesture.<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span></span></div>
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<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/AVvXsEgA-8ZEc_6CcY7Hohzd9mrO6YHrc2bvydskRgiwpuzJop6T-KT0l4_H_TYgfJW2dYisBiz1ymP5c-Oo-nXfZ1qFBkGHsUZdvsd4O07f78yCzcAa4gzm1UyKQa_PN308Q9MFw-VtaDcN8SCu/s1600/22.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA-8ZEc_6CcY7Hohzd9mrO6YHrc2bvydskRgiwpuzJop6T-KT0l4_H_TYgfJW2dYisBiz1ymP5c-Oo-nXfZ1qFBkGHsUZdvsd4O07f78yCzcAa4gzm1UyKQa_PN308Q9MFw-VtaDcN8SCu/s1600/22.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://operamylove.com/2014/04/10/die-walkure-in-barcelona/" target="_blank">Act II, <i>Walküre</i>, Barcelona</a></td></tr>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">The first part of the second act is supposed
to be set, according to the libretto, in a wild mountain scape.<span style="mso-spacerun: yes;"> </span>In this production it is set in a huge living
room that fills the entire vast stage. At first it is filled with soldiers who
then leave with only two or three armed guards at each end.<span style="mso-spacerun: yes;"> </span>In the middle is a huge table but not of
conventional normal table size but as a kind of table that is meant for an
arrangement around or in between armchairs and sofas and indeed there are
sofas, huge large long white, possibly leather but arranged in such a way that
only the arm rests face the audience.<span style="mso-spacerun: yes;"> </span>On
the table is a large heavy plate made of silvery material full of apples, maybe
eight or nine of them.<span style="mso-spacerun: yes;"> </span>Behind this there
is a fire place on one side and some other pieces of furniture here and
there.<span style="mso-spacerun: yes;"> </span>But because the depth of the
stage is so vast, the singers cannot make use of the depth because of the
acoustics of the stage which would swallow their voices if sang too far
back.<span style="mso-spacerun: yes;"> </span>So only when they are not singing
can they use the areas of the stage that are further back; for their singing they
would be near the arm rests of the sofas that are closest to the audience and
that end of the table.<span style="mso-spacerun: yes;"> </span>The blocking of
this scene is characterised predominately by its predictability.<span style="mso-spacerun: yes;"> </span>It is predictable that the depth of the stage
is there but will not be used much or would be used in such a way that one of
the characters is towards the front singing and another is character is doing
something at the back of the stage but there is no logic in that
arrangement.<span style="mso-spacerun: yes;"> </span>It is then also
predictable that Wotan in his several long monologues (where he provides Brünnhilde
with the background to everything that is happening now in historical terms),
he will be standing towards the front of the stage and is probably going to
shift between these three, one sofa left, the table in the middle and the sofa
on the right and that is exactly what happens.<span style="mso-spacerun: yes;">
</span>It is similarly predictable that because there are characters who are very
highly agitated and angry it is only a question of when one of them, and most likely
Wotan, will pick up the tray of apples and throw the apples all over the
place.<span style="mso-spacerun: yes;"> </span>That does happen. Unfortunately,
the weight of the tray and the apples together is such that it does not look
spontaneous at all when he picks up this heavy plate and throws the apples: nobody
would be doing that even if they are very angry and upset. It is a good idea
but it doesn’t work.</span></div>
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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/AVvXsEjiQWMFnJklQu1RBK0PAp15DTzXb6aSE83mTDA6vBV74SS6e_NNLLF9FTI9Ig7CIjmLOYEOO5kfEPnP_j-tddc2TfXGAswFREPc5FCoWeW1b9DRPJ31XlQIrA-94nP1NMNS1aVH9OMFeXV4/s1600/23.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiQWMFnJklQu1RBK0PAp15DTzXb6aSE83mTDA6vBV74SS6e_NNLLF9FTI9Ig7CIjmLOYEOO5kfEPnP_j-tddc2TfXGAswFREPc5FCoWeW1b9DRPJ31XlQIrA-94nP1NMNS1aVH9OMFeXV4/s1600/23.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://operamylove.com/2014/04/10/die-walkure-in-barcelona/" target="_blank">Act II, Scene 3, <i>Walküre </i>Barcelona</a></td></tr>
</tbody></table>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">In this production, the scene shifts in
so far as the curtain falls during the exchange between Wotan and Brünnhilde,
not the front curtain but the curtain slightly further back so that the stage
hands can change the set behind that curtain while Wotan and Brünnhilde carry
on their scene in front of that curtain.<span style="mso-spacerun: yes;">
</span>When the curtain opens we see a wintry landscape, snow that has been
falling already for most of the scene of Act 1 in the background is now
covering the whole stage but not loose, rather a solid layer of material that
looks like snow from the outside.<span style="mso-spacerun: yes;"> </span>On the
right hand side of the stage we can see an old jeep, derelict, broken down, not
fit for purpose anymore, but it provides an interesting prop or piece of design
because it allows Siegmund to place Sieglinde in it to rest and to move in
around it in his exchange with Brünnhilde when she comes initially to tell him
that he is to die but later on takes his side and promises to fight for him in
his struggle with Hunding against Wotan’s wishes.</span></div>
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<br /></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">The interaction between Siegmund and Sieglinde
in this part of the scene is conventional and predictable through the
possibilities offered by the jeep.<span style="mso-spacerun: yes;">
<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/AVvXsEgOM1yfVIr-nS8c7yeQsqbsUTkjSHhw-1TWgfFkYH7_TxrBvLjp4E66Qcwmu8jVmjYMbFl-ZfXZMYOVWi6Th5QU3rmHSEYCYVA9RxPVN3YbAi1rspvNzsjOCjZ0VIWrV9LaYET93AV2tvYm/s1600/24.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOM1yfVIr-nS8c7yeQsqbsUTkjSHhw-1TWgfFkYH7_TxrBvLjp4E66Qcwmu8jVmjYMbFl-ZfXZMYOVWi6Th5QU3rmHSEYCYVA9RxPVN3YbAi1rspvNzsjOCjZ0VIWrV9LaYET93AV2tvYm/s320/24.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://operamylove.com/2014/04/10/die-walkure-in-barcelona/" target="_blank">Act 2, <i>Walküre</i>, Barcelona</a></td></tr>
</tbody></table>
</span>Siegmund can climb up, climb down, Sieglinde can do the same so there is
some variety in what they can do.<span style="mso-spacerun: yes;"> </span>There
is more imaginative blocking in the interaction between Brünnhilde and Siegmund
in so far that the performers manage to express especially Siegmund’s attitude and
position , such as Siegmund’s certainty, security and determination when he
tells Brünnhilde that he will not be following her to Valhalla because Sieglinde
is not joining him there. </span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">At the end of the second act is the fight
scene between Hunding and Siegmund with Hunding armed with his gun, Siegmund
with a sword when Wotan smashes the sword, Hunding first knocks Siegmund out
with his gun and when Siegmund has fallen he stabs him with gun’s bayonet.</span></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">The third act takes place on the same kind of
snowy ground but through the lighting effect it is now dark, dirty and is
covered with the dead bodies of soldiers.<span style="mso-spacerun: yes;">
</span>The Valkyries appear and one after the other most of the soldiers are
raised back to after- life by the Valkyries and led off stage either to the
right or to the left depending on which party they have been fighting for,
because they have to be separated at first until their human life, their human
emotions have settled down so that they would not be fighting each other
anymore. They are being led as brave soldiers to live in Valhalla in their
after-lives as heroes.<span style="mso-spacerun: yes;"> </span>Some of these
dead soldiers remain lying on the ground for the rest of the scene. </span></div>
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<br /></div>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">The rest of the interaction between Wotan and
Brünnhilde takes place in this environment and they need to try and find spaces
where they don’t step on these dead soldiers so that makes it a bit awkward and
there is a lot of stumbling around as a result and that doesn’t help.<span style="mso-spacerun: yes;"> </span>Brünnhilde has been wearing a fire-red dress
for most of the time, now she seems to be feeling cold suddenly in that scene
and takes up the coat of one of the dead soldiers to warm herself with it.</span></div>
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<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/AVvXsEjTboA8AH0jqdfXX6IzvhUHg0EM3mBeDuWDLfhlgeYeQYPMJ1-Oj6mXsl0PLoZxF8dxXr630xM1yWbawuvu3TzaUEid7nzxtoGeNcE-WIvi2BgywsUbHdLIALro3Tcw334feoMTUehaP9Cn/s1600/25.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTboA8AH0jqdfXX6IzvhUHg0EM3mBeDuWDLfhlgeYeQYPMJ1-Oj6mXsl0PLoZxF8dxXr630xM1yWbawuvu3TzaUEid7nzxtoGeNcE-WIvi2BgywsUbHdLIALro3Tcw334feoMTUehaP9Cn/s320/25.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.bookstyle.net/en/barcelona-style/suggestions/opera-in-barcelona/51/0/119" target="_blank">Final scene, <i>Walküre</i>, Barcelona</a></td></tr>
</tbody></table>
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<span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt; mso-bidi-font-family: "Segoe UI";">To represent to the ring of fire that Wotan
creates around Brünnhilde at the end of the opera, he places a lighter with lit fire in front of
her and the back droplifts up and behind that a line of fire, clearly gas fire
from some device on the ground, emits a line of flame which is not too high so
it is a very down-to-earth, low-key kind of effect.</span><span style="font-family: "Palatino Linotype",serif; font-size: 12.0pt;"></span></div>
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<![endif]-->Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-77486119538816038262017-03-24T10:01:00.000+00:002017-03-24T10:05:33.880+00:00Dentists in Drama<!--[if gte mso 9]><xml>
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<![endif]--><b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"></span></b><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Regular check-ups at the dentist are part
of the lives of people at least in Western countries. Dentists are thus members
of a profession that is well known to many. Compared with other, similarly
well-known professions, however, dentists feature only rarely as characters in
plays. In this (longer) blog entry, I want to provide a survey of these plays. A dentist’s view completes the entry. </span>
<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">While some plays with scientists as
characters deal to a considerable extent with the science they are involved in,
at times, as in Carl Djerassi’s plays, meticulously ensuring accuracy of the
science in all its aspects while at the same time allowing scientists to come
across as human beings with all their human frailties, in the case of dentist
characters, the emphasis tends to be different. There are some plays where a
character, usually male, is identified as a dentist in passing—the profession
is not of much interest to the play, beyond the fact that some university
education will have been necessary, and for the character to be placed in a
specific social and financial bracket. Mike Leigh’s 2006 play <i style="mso-bidi-font-style: normal;">2000 years</i> is a good example of this. <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/AVvXsEgqsACD65XrJPKHXCI-JmBsStvcTwQyrlTG4rhh_7SexDdaexJRKUQFMFmOgmqBxnBYsiDVKuen-PydR3EJfMa3NnALXFwDBUz3L-l_T8RqRkE6BhtzG3Yb9oj2g4y5Xb_sLY6Kmb4EX99L/s1600/10.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqsACD65XrJPKHXCI-JmBsStvcTwQyrlTG4rhh_7SexDdaexJRKUQFMFmOgmqBxnBYsiDVKuen-PydR3EJfMa3NnALXFwDBUz3L-l_T8RqRkE6BhtzG3Yb9oj2g4y5Xb_sLY6Kmb4EX99L/s320/10.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.playbill.com/article/photo-call-mike-leighs-mysterious-two-thousand-years-breaks-records-at-the-national-theatre-com-128077" target="_blank"><span id="goog_1307119457"></span>Mike Leigh: <i>Two Thousand Years<span id="goog_1307119458"></span></i></a></td></tr>
</tbody></table>
The
play is set in 2004 and 2005 in the home of Danny, his wife Rachel, his son
Josh, his daughter Tammy, family friend Jonathan, Rachel’s father Dave, Tammy’s
boyfriend Tzachi and Rachel’s sister Michelle.<span style="mso-spacerun: yes;">
</span>Leigh calls it his Jewish play.<span style="mso-spacerun: yes;">
</span>It is about the life of a Jewish family in contemporary Britain and
their ideas and attitudes towards their Jewishness and the events in Israel. Danny
is a dentist and there is not much in the play about this work.<span style="mso-spacerun: yes;"> </span>He says to his son </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">We
give you money, you buy books, you stay up half the night, you get up whenever
you like, you are free to come and go, you have never had a job.<span style="mso-spacerun: yes;"> </span>Josh, you left University seven years ago
with a first class honours degree in mathematics.<span style="mso-spacerun: yes;"> </span>The world was your oyster.<span style="mso-spacerun: yes;"> </span>We tried to bring you up decently and respectably
and now this mishigas.<span style="mso-spacerun: yes;"> </span>Your mother runs
around clearing up after you while I spend all day fiddling in people’s mouths.
(2006, 22)</span></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The quote confirms
the comfortable financial situation enabled by Danny’s profession, and the implication
that he does not much like what he has to do to earn his money: “fiddling in
people’s mouths” implies and conveys disgust—probably with the implication that
this cannot be an ideal attitude to daily work. In the middle of a later conversation
Danny says </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">So Thursday morning this little kid
comes in and he craps himself in the chair he is so scared.<span style="mso-spacerun: yes;"> </span>His mother was mortified, poor Estelle had to
come in and help me clear up the mess.<span style="mso-spacerun: yes;">
</span>Nothing wrong with his teeth, put me back ten minutes” (2006, 30)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">His wife, Rachel,
comments: “Put you back ten minutes, put him back for life, he will probably
never go to the dentist again poor kid” (2006, 30). Time comes into the final
reference in the play to Danny’s profession, when he says to his father-in-law:
“Dave, my whole life is about keeping appointments” (2006, 77). In the musical <i style="mso-bidi-font-style: normal;">The Gig</i>, the dentist character, Arthur,
one of a group of men aged thirty-five to fifty-five that form an amateur jazz
band, is also concerned about appointments: in relation to the two-week tour
they are embarking on, all the men of the jazz band comment on the things that
they have had to give up. Arthur says: “Marty, I cancelled two weeks of
appointments for this” (1992, 35). </span></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Thus in Mike Leigh’s serious play we have
a dentist who does not like his job, with one general impression that he finds
it disgusting, and one specific, and extreme of a disgusting incident. This
dentist, furthermore, seems more concerned with the implications on the smooth
running of his schedule than the well-being of the patients. Arthur in <i style="mso-bidi-font-style: normal;">The Gig</i> comments that “it’s a disgusting
job” (1992, 96). “When you get right down to it, it’s a disgusting job putting
your fingers in other people’s mouths but Wednesday nights are not about the
daily grind like when they grind their teeth into my flesh or spray my face or
mess with my equipment, Wednesday nights are there to help forget my
scars.<span style="mso-spacerun: yes;"> </span>In only 32 bars, I am one of six
shooting stars” (1992, 19). <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/AVvXsEh7R4sqjojLUXytoGqE01DL1BFNuCHqe5zkjzwBvMQ4xgKnypKIRERDnlfK1GfyidJAZnwFhN7Uo1XLKljJDf5DoKDuW-xNtK1-iBBOLXNLuL9OEGVo58NgJt1PKTxpxanOuCf5yJTTOe_B/s1600/11.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7R4sqjojLUXytoGqE01DL1BFNuCHqe5zkjzwBvMQ4xgKnypKIRERDnlfK1GfyidJAZnwFhN7Uo1XLKljJDf5DoKDuW-xNtK1-iBBOLXNLuL9OEGVo58NgJt1PKTxpxanOuCf5yJTTOe_B/s320/11.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times new roman" , serif;"><a href="https://www.youtube.com/watch?v=YDHwdQMwYlI" target="_blank">Douglas J Cohen, <i>The Gig</i></a></span></td></tr>
</tbody></table>
In light comedy, disgust also features, for comedy
effects: for example, Felix, a “neurotic but likeable” (1978, 5) London dentist
is asked by the estate agent trying to sell him the Spanish holiday home, what
he does for a living. </span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Felix:
Teeth</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Partridge:
Ohh. Interesting.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Felix:
Dentistry has been called many things, but rarely “interesting”.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Partridge:
That’s the answer. That’s why your nerves are so bad. The job’s tedious.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Felix:
Nothing but gums and molars, caps and crowns…and the occasional clove of
garlic. You’re right, I’m in bad shape” (1978, 17)</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The idea of
disgust links with that of the dentist character as (ab-)using his power over
patients lying in their chairs as helpless victims. The dentist in the musical <i style="mso-bidi-font-style: normal;">The Little Shop of Horrors</i> is probably
the most well-known example. <i style="mso-bidi-font-style: normal;">Teeth</i>, a
play for television by Tom Stoppard, first broadcast in 1967, is set in the
dental surgery of dentist Harry Dunn, described as small, mid-30s, very clean
and pink, with light framed spectacles, and a tight even white smile.<span style="mso-spacerun: yes;"> </span>Stoppard describes the play in the preface as
a “Roald Dahl type story as I hoped.<span style="mso-spacerun: yes;"> </span>I
take this opportunity to dedicate it to my much more recent and much nicer
dentist” (1993, vii). The Roald Dahl reference suggests that this is black comedy
and indeed what turns out to be the case is that Harry has a relationship with
Mary, his receptionist, while the receptionist’s husband, George, has a
relationship with the dentist’s wife. Although the dentist has his own
relationship with George’s wife, he does not like George to have a relationship
with his wife and so when George comes for a routine check-up of a set of
perfect teeth, Harry subjects him to humiliation and prods around in his mouth
with his instruments, drilling where it is not necessary and in the end pulling
at least one tooth.<span style="mso-spacerun: yes;"> </span>Quite a lot of the
dentist’s work in the patient’s mouth is filmed in detail; in this respect, the
direction reads that </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Harry should make use of all his
tools and nozzles, squirting air and water, swivelling, drilling etc.<span style="mso-spacerun: yes;"> </span>The point is that Harry is playing with
George.<span style="mso-spacerun: yes;"> </span>The dental procedures do not
have to be authentic or accurate.<span style="mso-spacerun: yes;"> </span>The director
and actors can assume that there is nothing much wrong with George’s teeth and
there is a logical rationalisation for using the machine indiscriminately for
effect. (1993, 32)</span></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<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/AVvXsEhIwdO0Tt90nT7pHHo9YpuRung-pD6tB3LmpwFWhboZEztqxZZyz5ACltkgnfCPYo0Q3P_MdzQXBSbmFijcDJIeFdRwKAFPp0AA8oOUOlWGMfQx5i312QvuHrD0I92ZsGoaGdLv0a52yK-Q/s1600/12.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIwdO0Tt90nT7pHHo9YpuRung-pD6tB3LmpwFWhboZEztqxZZyz5ACltkgnfCPYo0Q3P_MdzQXBSbmFijcDJIeFdRwKAFPp0AA8oOUOlWGMfQx5i312QvuHrD0I92ZsGoaGdLv0a52yK-Q/s320/12.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.broadwayworld.com/rhode-island/article/BWW-Review-Very-Silly-but-Funny-MURDER-AT-THE-HOWARD-JOHNSONS-at-2ND-STORY-THEATRE-20170219" target="_blank">Ron Clarke and Sam Bobrick, <i>Murder at the Howard Johnson's</i></a></td></tr>
</tbody></table>
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"></span><br />
<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">From the black
comedy of <i style="mso-bidi-font-style: normal;">Little Shop of Horrors </i>and <i style="mso-bidi-font-style: normal;">Teeth</i>, we move to light comedy, which is
where most dentists in drama are found. <i style="mso-bidi-font-style: normal;">Murder
at the Howard Johnson’s</i> by Ron Clarke and Sam Bobrick is a good example.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The three acts of this play are set in a Howard Johnson’s hotel (one of the
hotel chains in America) on three different occasions, a week before Christmas
in Room 514, on the 4<sup>th</sup> July in Room 907, and on New Year’s Eve in Room
1015. The play has three characters, Arlene Miller, her husband, Paul Miller
and their dentist, Mitchell Lovell.<span style="mso-spacerun: yes;"> </span>In
the first scene the dentist and Arlene plot to kill Paul but fail.<span style="mso-spacerun: yes;"> </span>In the second scene Arlene and Paul plot to
kill the dentist but fail. <span style="mso-spacerun: yes;"> </span>In the third
scene, the dentist and Paul plot to kill Arlene but fail. The comedy is based
on several clichés about dentists: first of all, the character of Mitchell is
introduced with reference to the assumption that dentists are attractive to
women because of their profession (presumably implying financial prowess):
thus, Mitchell says to Arlene, rather pompously and therefore funny: “I can’t
stand the thought of anybody but me touching you.<span style="mso-spacerun: yes;"> </span>I am a dentist Arlene, you know I can have
any woman I want, but all I want is you” (1979, 7). The dentist’s cruelty,
exaggerated in <i style="mso-bidi-font-style: normal;">Little Shop of Horrors</i>
and <i style="mso-bidi-font-style: normal;">Teeth</i>, received slightly lighter
treatment in <i style="mso-bidi-font-style: normal;">Murder at the Howard
Johnson’s</i>: Mitchell reveals to Arlene: “I have never told you this before
but remember when I put in that bridge for him and he went home in terrific
pain, I purposely did that to him.<span style="mso-spacerun: yes;"> </span>I put
in the wrong size bridge, I wanted to hurt him.” The potential weight of this
confession is reduced and the confession turned into a joke through Arlene’s response:
“I love you Mitchell”, followed by their passionate embrace (1979, 8). Mitchell
wears a very colourful shirt, emphasising his macho image, and is appalled and
hurt when Paul refers to him as middle class: “Who the hell are you calling
middle class?<span style="mso-spacerun: yes;"> </span>I am a professional
dentist with diplomas all over the wall” (1979, 17).<span style="mso-spacerun: yes;"> </span>A further reference, with comic impact, to
the dentist’s assumed status of power comes in Scene Two: Arlene has lured
Mitchell into the Howard Johnson’s hotel by leaving a suicide note and when
Mitchell arrives he says: “Arlene, I am glad I got here in time.<span style="mso-spacerun: yes;"> </span>I drove through red lights, I drove through
stop signs.<span style="mso-spacerun: yes;"> </span>I drove through railroad
crossing, thank God I am a doctor, I am allowed to drive like a maniac.”<span style="mso-spacerun: yes;"> </span>(1979, 33).<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A dentist’s high
income, at the expense of the overpaying patients, provides a further source of
laughter in <i style="mso-bidi-font-style: normal;">Murder at the Howard
Johnson’s</i>. Mitchell and Arlene have lured Arlene’s husband, Paul, a
used-car dealer, to the Howard Johnson’s to an alleged meeting with a crook
willing to sell him stolen cars for re-sale. When Paul realises that the person
he expected to find in the apartment at the Howard Johnson’s is not the man he
thought he would meet, but the dentist, he comments “You, you are our dentist,
you don’t make enough money overcharging us?<span style="mso-spacerun: yes;">
</span>You have to operate a stolen car ring too?” (1979, 12). As in the
previous example from this play, the comedy continues right away with the
following lines: Arlene is getting impatient—after all, she and the dentist
have to get on with murdering her husband, Paul, so she asks Paul to give her
his coat, and prompts Mitchell to inform Paul of their plans:<span style="font-family: "times new roman" , serif;"> </span>“Dr Lovell has
something to tell you. Go ahead honey”. Paul in turn responds with “Honey?<span style="mso-spacerun: yes;"> </span>Who calls a dentist honey?” (1979, 12). The
play then comes back to the financial dimension when, prior to attempting to
kill Paul according to their plan, Mitchell suggests a divorce: “A nice clean
split, we let the lawyers handle everything; we stay friends and from hereon in
all your dental work is 50% off” (1979, 12). When Paul refuses the generous
offer, he is still somewhat upset about finding out his wife has been betraying
him—again with a comical dimension, because of the apparent reason he is upset
when he says: “In love with a man who butchered my mouth, it still hurts from
the lousy bridge you put in”. Mitchell retorts: “So don’t pay me”. Paul: “I
didn’t” (1979, 12)<span style="font-family: "times new roman" , serif;">.<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/AVvXsEjm3WJsXFf_59Y4Uf8U6oQwDpxeI0E3yZOSh_s7LOlWz1mbvbAZDfREVxW64S88wJ9KCys87nzHPFYhqLcr6Wel4tJUAooBvL9ZrktLaFuFnHXLGtyey4xR2Hpiz-kEM9SgRgbJz7zN2bqs/s1600/13.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm3WJsXFf_59Y4Uf8U6oQwDpxeI0E3yZOSh_s7LOlWz1mbvbAZDfREVxW64S88wJ9KCys87nzHPFYhqLcr6Wel4tJUAooBvL9ZrktLaFuFnHXLGtyey4xR2Hpiz-kEM9SgRgbJz7zN2bqs/s320/13.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times new roman" , serif;"><a href="http://hookedonhouses.net/2014/03/10/the-cabin-from-on-golden-pond/" target="_blank">Ernest T<span style="font-family: "times new roman" , serif;">hompson, <i>On G<span style="font-family: "times new roman" , serif;">olden Pond</span></i></span></a></span></td></tr>
</tbody></table>
</span></span><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The financial
dimension of a dentist’s work is also obvious in <i style="mso-bidi-font-style: normal;">On Golden Pond</i> by Ernest Thompson, on which the film of the same
title with Henry Fonda is based. The play is set in the home of Ethel and
Norman Thayer, an elderly couple. Norman has got major heart problems and Ethel
is worried about his health.<span style="mso-spacerun: yes;"> </span>Their
daughter, Chelsea, comes to visit, bringing with her her new boyfriend, Bill
Ray. When Bill’s son Billie Ray is introduced, Norman mistakes him playfully
for the dentist saying “you seem awfully young to be a dentist”.<span style="mso-spacerun: yes;"> </span>Billie responds “I am a midget”. Norman “Oh
Really?”.<span style="mso-spacerun: yes;"> </span>Chelsea (Norman and Ethel’s
daughter) laughs and clarifies: “This is Billie Ray Junior” (1979, 65). Norman
later asks Bill how much he charges for a filling. Bill: “$40 generally”.
Norman “$40, good god, my brother charged $5 for a filling right up to 1973
when he raised it to $7.<span style="mso-spacerun: yes;"> </span>That’s when I
stopped going to him”. The small talk continues with </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Bill: Your brother is a dentist?</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Norman: Yes he was when he was living.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Bill: Isn’t that amazing?</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Norman: I don’t know, I think every
family has one.<span style="mso-spacerun: yes;"> </span>(1979, 42)</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Later in the
scene, Ethel and Norman talk about Chelsea and her new boyfriend. The
conversation comes back to the financial implications of Bill’s work:</span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Ethel: Chelsea says he’s very funny.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Norman: He is, he’s a scream.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Ethel: She really likes him, I can
tell that, says he is very smart.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Norman: And rich, did she tell you
that?<span style="mso-spacerun: yes;"> </span>$40 a filling!</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Ethel: $40?</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Norman: That’s enough to keep you off
sweets isn’t it?</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Ethel: Well, he’d be a quite a catch
won’t he.<span style="mso-spacerun: yes;"> </span>(1979, 48)</span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">At a later point,
Norman asks Chelsea whether she can get them a discount on dental work (1979,
63). </span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Canadian
Gothic </span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">by Joanna M Glass is a play about a Saskatchewan
dentist and his mildly rebellious wife. The wife dies, and the daughter
remembers, with reference to money:</span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Fortunately there is gold in
dentistry.<span style="mso-spacerun: yes;"> </span>My father wouldn’t have
live-in help under foot in the evenings so we hired a woman to do the washing
and we hired a woman to do the cooking.<span style="mso-spacerun: yes;">
</span>In accordance with his nature we took care of these things first then we
mourned”. (1977, 12)</span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Conveniently for
the comical plot of <i style="mso-bidi-font-style: normal;">Murder at the Howard
Johnson’s</i>, Paul is suffering acutely from pain caused by the bridge and
shouts out in pain, serving as the trigger for the following exchange:</span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Mitchell: What’s wrong?</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Paul: It’s that lousy bridge you put
in.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Mitchell: <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">goes to
the bag and gets some dental instruments</i> Here let me have a look.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Paul: No, no it’s alright.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Mitchell: Open wide. <i style="mso-bidi-font-style: normal;">looks into Paul’s mouth</i> Have you been
using your water pick?<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Paul: Who’s got time?</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Mitchell: You are lucky you are going
to die Paul.<span style="mso-spacerun: yes;"> </span>You need $1200 worth of
work there.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Paul: I wouldn’t go to you if you
were the last dentist on earth.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Mitchell: For you, I am the last
dentist on earth.<span style="mso-spacerun: yes;"> </span>(1979, 19)</span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">When Paul
threatens to kill Mitchell, in Scene Two, Mitchell tries to bribe himself out
of the situation: “I tell you what, free office visits for a whole year” (1979,
36)</span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In addition to a
dentist’s macho image and his money, comedies make use of the dentist’s tools. Mitchell
in <i style="mso-bidi-font-style: normal;">Murder at the Howard Johnson’s</i> and
Dr Julian Winston in <i style="mso-bidi-font-style: normal;">The Cactus Flower</i>
wear a white dentist jacket, and Mitchell uses a hypodermic needle. Reference
to the dentist’s chair is used to comic effect in <i style="mso-bidi-font-style: normal;">Murder at the Howard Johnson’s</i> as well. In Scene Two, Paul and
Arlene plan the murder of the dentist because she found him in a compromising
situation in his surgery with the dental nurse. Arlene wanted to surprise
Mitchell in his office and opened the door. </span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Paul: Yes.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arlene: And there they were in the
chair.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Paul: In the chair?</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arlene: He and his dental assistant.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Paul: With Judy?<span style="mso-spacerun: yes;"> </span>I thought she just cleaned teeth.<span style="mso-spacerun: yes;"> </span>Scum, scum of the earth.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arlene: She sure is.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Paul: I am talking about him.<span style="mso-spacerun: yes;"> </span>(1979, 31)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">When Mitchell
arrives and Paul and Arlene talk to him about this incident, Mitchell comically
relates that after Arlene left the surgery, he jumped up from the chair. He hit
the wrong button and the chair folded in half, leaving the dental nurse
seriously injured (1979, 33).</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In <i style="mso-bidi-font-style: normal;">The Cactus Flower</i>, well-intentioned,
“good” dentist Dr Winston is tempted say this to Igor, his rival for the
favours of his girlfriend, Tony: “I would like to have you in my chair for just
five minutes” (1966, 44). Dentist characters harm patients not only
intentionally, as in <i style="mso-bidi-font-style: normal;">Little Shop of
Horrors</i>, <i style="mso-bidi-font-style: normal;">Teeth</i>, or <i style="mso-bidi-font-style: normal;">Murder at the Howard Johnson’s</i> in the
contexts of black comedy and light comedy, but their practice goes wrong
unintentionally when they are run down with their nerves: by the end of the
play <i style="mso-bidi-font-style: normal;">Murder at the Howard Johnson’s, </i>Mitchell
complains about his practice falling to pieces:</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">the other day I was taking an
impression of one of my few remaining patients and I cemented her gums
together” (…) Last week I did a root canal on an old man who wears false teeth
and you know what I did yesterday?<span style="mso-spacerun: yes;"> </span>I
dropped a gold filling down a woman’s throat.<span style="mso-spacerun: yes;">
</span>That is a $140 down the toilet. (1979, 48)</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Dr Winston in <i style="mso-bidi-font-style: normal;">The Cactus Flower </i>feels that his love
life influences and affects his ability as a dentist badly.<span style="mso-spacerun: yes;"> </span>He says “my problems with Tony are beginning
to affect my work.<span style="mso-spacerun: yes;"> </span>You know what
happened in there just now?<span style="mso-spacerun: yes;"> </span>I hurt Mrs
Durrant, she felt pain, it’s the first time I have ever hurt a patient” (1966,
52).<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<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/AVvXsEgyEC2e78ZvztFp_wyi-UOb6Md2B2Oco3UVil-ao7usFaAWHR3dgqsKhpK4iidhscyUCZEpwoEdeTPeTx26vQj_BjkwpX5BHC30fnJ510JidJYB4urXuM8eubib0OtM7Fo0FDw3fLHqF0lD/s1600/14.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyEC2e78ZvztFp_wyi-UOb6Md2B2Oco3UVil-ao7usFaAWHR3dgqsKhpK4iidhscyUCZEpwoEdeTPeTx26vQj_BjkwpX5BHC30fnJ510JidJYB4urXuM8eubib0OtM7Fo0FDw3fLHqF0lD/s320/14.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "times new roman" , serif;"><a href="http://www.classicmoviehub.com/blog/the-wonderful-ingrid-bergman-blogathon-cactus-flower/" target="_blank"><span style="font-family: "times new roman" , serif;">From the film of <i>The Cactus F<span style="font-family: "times new roman" , serif;">lower</span></i></span></a></span></td></tr>
</tbody></table>
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In John
Kirkpatrick’s one-act farce <i style="mso-bidi-font-style: normal;">Kiss me Quick
– I Am Double Parked, </i>dentist Alex reminisces with his dental nurse, Lily
Carter: </span></div>
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<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Alex: Think of all the tender moments
we have shared.<span style="mso-spacerun: yes;"> </span>Remember last year—my
first extraction, that old Mrs Havilland, that lovely impacted wisdom
tooth—why, the roots must have gone down to her knees. (<i style="mso-bidi-font-style: normal;">His voice has taken on an odd nostalgic quality</i>)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lily : (<i style="mso-bidi-font-style: normal;">Also reliving it all</i>) Yes, yes.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Alex: I was so excited I couldn’t
wait for the novocaine to take effect—</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lilly: That first pull of yours—</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Alex: She kicked me in the
stomach—broke a bottle of Lavoris over your head and left.<span style="mso-spacerun: yes;"> </span>She never came back, I wonder why?<span style="mso-spacerun: yes;"> </span>Yes, yes, we have been through a lot, Miss
Carter.<span style="mso-spacerun: yes;"> </span>(…) (1968, 7)</span></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lily
later describes Alex’s working habits to another character: “He has a record
player (…) to sooth his patients.<span style="mso-spacerun: yes;"> </span>You
know, Beethoven for drilling—Tschaikovski for extractions”.<span style="mso-spacerun: yes;"> </span>(1968, 16)</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In <i style="mso-bidi-font-style: normal;">The Cactus Flower</i>, in the surgery the
voice of the assistant, Stephanie, and the soft music create an effect that is
supposed to be very soothing for the patients (1966, 12). Dr Winston reveals
the true purpose of the background music, which “has become a very important aspect
of modern dental therapy.<span style="mso-spacerun: yes;"> </span>It is very
soothing to the dentist”. A patient, Harvey comments: “At your prices you can
afford Heifez<span style="mso-spacerun: yes;"> </span>in person” (1966, 15) </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">When dentist
characters are conscientious, good dentists, this is shown by the kind of
advice they give patients directly, and well-intended suggestions they make to
friends. In <i style="mso-bidi-font-style: normal;">The Cactus Flower</i>, for
example, a patient, Mrs Durrant, comes to see Dr Winston after a filling has
come out because she has eaten a caramel. She complains: “A caramel, one lousy
caramel and the whole damn filling came out”.<span style="mso-spacerun: yes;">
</span>The dental nurse, Stephanie, admonishes her “Mrs Durrant, it was only a
temporary filling and you were warned to be careful, caramels…”<span style="mso-spacerun: yes;"> </span>(1966, xx). The nurse’s words mirror those of
Dr Winston himself a little later (1966, 17). </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A dentist
character’s profession can bleed into their daily lives outside the surgery. Dentist
Felix in <i style="mso-bidi-font-style: normal;">But She Won’t Lie Down</i> met
his wife Belinda when she came to his surgery to have her teeth capped. Felix
remembers: “I remember she had a pair of the sexiest incisors I’d ever seen …
so I asked her out to the local chophouse. I didn’t know then she was going to
devour me” (1978, 84). When the men of the jazz band in <i style="mso-bidi-font-style: normal;">The Gig </i>have arrived at the venue for the big event, the Paradise
Manor, before going to bed, Arthur comically comments on the fluoride level in
the water, “I am speaking to Mr Mitgan tomorrow [the owner], there is not
enough fluoride in this water”. (1992, 55). Various members of the band try to
strike up relationships with female company that they find around and Arthur is
one of them.<span style="mso-spacerun: yes;"> </span>He is interested in the
waitress Lucy and as a very funny icebreaker on their first date he says “maybe
sometime I could tell you secrets of dentistry, never before revealed” to which
Lucy responds in a non-committal way “Maybe”.<span style="mso-spacerun: yes;">
</span>(1992, 65). </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">On their second
date the talk is again about dentistry.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lucy: I have an uncle who is a
dentist, </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arthur: I hope you like him, </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lucy: He is a very wise man, </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arthur: As a matter of fact you can
learn a lot about human nature from the way people behave in a dentist’s chair,</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lucy: For instance? </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arthur: Take pain.<span style="mso-spacerun: yes;"> </span>There is a certain type who feels guilty if
they are not suffering so they refuse anaesthesia no matter what.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lucy: Not I</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arthur: Then there’s the ones with no
tolerance who need novocaine to sit in the waiting room.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lucy: That’s me.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arthur: No it is isn’t.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lucy: How do you know?</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arthur: Like I said—you learn to read
people. And I size you up as eminently sensible.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lucy You are right.<span style="mso-spacerun: yes;"> </span>I said the other to be funny.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">(<i style="mso-bidi-font-style: normal;">Lucy
smiles, Arthur smiles in return and they break into song</i>)<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arthur: <span style="text-transform: uppercase;">Beautiful</span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lucy: Sorry?</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arthur: (<i style="mso-bidi-font-style: normal;">uncomfortable that his feelings slipped out</i>)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">Your <i style="mso-bidi-font-style: normal;">teeth</i> are beautiful. </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">they are so
perfectly in place </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">they
complement your face, </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">so
beautiful.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">They are in
there as tight as drums, </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">thanks to
those healthy gums </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">they are
also beautiful.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">Yes
beautiful, </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">so beauti</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">….<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify; text-indent: 7.65pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I am embarrassing
you</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify; text-indent: 7.65pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lucy: A little</span></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Arthur: I am just giving you my professional opinion</span></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">Smiles from
you </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">can cheer me
when I am glum<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">Yes after
you, they broke the mould, </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">your
fillings aren’t just gold, </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">they are
platinum.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">It really
comes across </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">how much you
like to floss, </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">your smile
is beautiful </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">oh beautiful
so beautiful, </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">beautiful…</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Lucy (<i style="mso-bidi-font-style: normal;">in soliloquy</i>)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%; text-transform: uppercase;">I didn’t
want to like him</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>(1992, 70-72)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In <i style="mso-bidi-font-style: normal;">The Gig </i>Arthur addresses an unseen
patient, “I am not superman Robbie, I don’t have the necessary x-ray vision to
see straight through your clenched mouth and into your gums, but I am a super
crusader for aural hygiene and together we could be become a dynamic duo, but
first you have got to let me look in that terrific mouth of yours”. Following a
few sung lines accompanied by music, he continues: “Ok Robbie how about we play
astronaut.<span style="mso-spacerun: yes;"> </span>I will start the countdown
and when I say blast off you open your mouth wide as a space ship.<span style="mso-spacerun: yes;"> </span>Are you ready?” (1992, 19). </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The well-meaning
dentist is also being exploited for treating some patients without payment.
This characteristic is used to comical effect when, in <i style="mso-bidi-font-style: normal;">The Cactus Flower</i>, patient Harvey asks whether the dentist, Dr
Winston, could do something for the overlap of his girlfriend’s teeth,
preferably without having to pay.<span style="mso-spacerun: yes;"> </span>He
hardly ever pays for his own treatment either.<span style="mso-spacerun: yes;">
</span>Dr Winston replies: “Oh send her around and I will see what I can do but
don’t you know any girls with straight teeth?” (1966,19).</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">One-off humour at
the expense of a dentist comes in the form of dentist Felix in <i style="mso-bidi-font-style: normal;">But She Won’t Lie Down</i> arranging a fake
marital fight with his late wife’s sister, Joanna, impersonating his wife. </span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Joanna: (…) She might begin by
describing you as more of an absess [sic] than a dentist.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Felix: Umm … you’ll think of
something better by then.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Joanna: An orthodontic drip. An
antiseptic old auntie. (1978, 49)</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A patient who is
funnily afraid of dentists is Senor Sanchez in <i style="mso-bidi-font-style: normal;">The Cactus Flower</i>: “I’ve been through 6 bloody revolutions, I’ve
played a whole game of polo with a broken leg, I have sat in my seat at the
United Nations and without flinching, I have listened to 10 full length Cuban
speeches but dentists……” (<i style="mso-bidi-font-style: normal;">he shakes his head</i>)”.
(1966, 29). </span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">To
round off this survey of the presentation of dentists in English language
drama, below is a comment on that material from German Dentist and Orthodontist
Dr Carolin Hadamovsky: </span></div>
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<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/AVvXsEgmv-Qy45ziBV1x7pmA4q2m3NgCGZqGdlJXkUp8ci04NxK2ZpBfuSWeE14rbUvWVKSAc4V7KxofPwyO6PS-q9IqeaoOpCYWhUSkD1_5kddNxl8nmQbhftyeWsxeJjgeizy25Dx6ELJdNovo/s1600/15.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmv-Qy45ziBV1x7pmA4q2m3NgCGZqGdlJXkUp8ci04NxK2ZpBfuSWeE14rbUvWVKSAc4V7KxofPwyO6PS-q9IqeaoOpCYWhUSkD1_5kddNxl8nmQbhftyeWsxeJjgeizy25Dx6ELJdNovo/s1600/15.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.kieferorthopädie-hürth.de/" target="_blank">Dr Carolin Hadamovsky</a></td></tr>
</tbody></table>
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I
think that the plays you refer to cover quite a lot with regard to the
profession of the dentist.<span style="font-family: "times new roman" , serif;"> </span>The
dentist is, on the whole, not an intellectual. At least I don’t know a single
one. In order to do the job well, you need above all much manual skill,
combined with strong spatial sense. That’s why I would call it an academic
craft. In earlier years (in the 1960s and 1970s), this was the domain of
men—perhaps because that’s how men are constituted genetically, they are just
able to do this kind of work. And those who are particularly good at it—they
are the “masculine” men—machos. Only when politics in Germany introduced the
regulatory regime of a centralised university admission system and a grade
average requirement to study dentistry, more and more women decided to study
dentistry, simply because they achieved better marks. When I studied, (1978
onwards), the ratio of women was 20%, today it is 80%. The professional bodies
are already concerned about the provision of dentistry twenty years from now.
Many female dentists are employed, while only very few found their own
surgeries. Why should they? Fees have not risen since the 1980s, and even a
small surgery costs no less than €300,000, and the immense administration work
that comes with owning one’s own surgery eats well into the weekend hours. Many
female colleagues are not prepared to take that risk and prefer being employed
on a fixed salary and fixed hours in a large surgery. This also allows them to
give priority to family planning. Perhaps this development will change the
image of the dentist in future, in the media and in the theatre, in a positive
way—because women are not usually seen as brutal and obsessed by money and
power. But their male colleagues do no longer drive Porsche, but Sharan, and
they don’t own villas any more, either.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I
think that the plays depict well many aspects of how dentists are perceived in
daily life. I am of course saddened that some dentists are represented as
intentionally torturing people—we too have to take the Hippocratic oath on
receiving our licence to practice dentistry! You can’t feel disgusted with
teeth—who would be able to endure a lifetime in such a job? That’s why I am
happy that in <i style="mso-bidi-font-style: normal;">The Gig</i>, Arthur is able
to say many positive things about us dentists. Indeed, we need a lot of
empathy, knowledge of human nature and respect for the patient to be able to
carry out a successful treatment. In addition, we have to be absolute aesthetes
(who can be happy about every beautiful set of teeth!), a good salesperson, and
without good business skills you will go bankrupt even despite good ability as
a dentist. The plays seem not to deal with those last two qualities of
dentists, possibly a sign that the authors do not know that much about the
finer details of the profession after all. (2014)</span></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Works
Cited</span></b></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Burrows, Abe.
1996. <i style="mso-bidi-font-style: normal;">Cactus Flower</i>.<span style="mso-spacerun: yes;"> </span>A comedy in two acts by based on a play by
Pierre Barillet and Jean-Pierre Gredy. London: Samuel French.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Clarke, Ron and
Sam Bobrick. 1979. <i style="mso-bidi-font-style: normal;">Murder at the Howard
Johnson’s</i>. New York and London: Samuel French.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 1.0cm; margin-top: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Cohen, Douglas J. 1992. <i style="mso-bidi-font-style: normal;">The Gig</i>: A musical by based on the
motion picture, <i style="mso-bidi-font-style: normal;">The Gig</i>, by Frank D
Gilroy.<span style="mso-spacerun: yes;"> </span>London & New York: Samuel
French.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Glass, Joanna M. 1977. <i style="mso-bidi-font-style: normal;">Canadian Gothic</i>. New York: Dramatists
Play Service.</span></div>
<div class="MsoListParagraphCxSpFirst" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Hadamovsky,
Carolin. 2014. Personal communication, email, 22 April.</span></div>
<div class="MsoListParagraphCxSpMiddle" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div class="MsoListParagraphCxSpLast" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Kirkpatrick,
John.<span style="mso-spacerun: yes;"> </span>1968. <i style="mso-bidi-font-style: normal;">Kiss me Quick – I’m Double Parked</i>.<span style="mso-spacerun: yes;">
</span>London: Samuel French.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Leigh, Mike. 2006. <i style="mso-bidi-font-style: normal;">2000 Years</i>.<span style="mso-spacerun: yes;"> </span>London: Faber
& Faber.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoListParagraph" style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Stoppard, Tom. 1967. <i style="mso-bidi-font-style: normal;">Teeth</i>. London: Faber & Faber.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Thompson, Ernest. 1979. <i style="mso-bidi-font-style: normal;">On Golden Pond</i>. New York: Dramatists
Play Service.</span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Yeldham, Peter. 1978. <i style="mso-bidi-font-style: normal;">But She Won’t Lie Down</i>. </span><span lang="DE" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">New
York: Samuel French.</span></div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-64242367947611849512017-03-22T16:36:00.000+00:002017-04-25T16:00:50.682+01:00Opera: singing <!--[if !mso]>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<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" 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"/>
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<span style="color: #38761d;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">I have
started writing in the typical way that theatre and opera reviews tend to be
written: by discussing aspects of production, aspects of the director’s ideas,
or even concept. Actors or singers feature last in reviews, and tend to get
rather brief mentions, often with rather vague words to assess their
achievements—more specific for negative criticism: we are good at pinpointing
faults in precise terms, and less specific, more vague, for praise. I discussed
this phenomenon in the context of theatre with Per Brask and Harry Youtt (<a href="http://www.brill.com/products/book/observing-theatre" target="_blank">2013: 77-102</a>).
For opera, describing the singers’ voices is particularly difficult. Based on
an analysis of critics’ writings about Wagnerian tenors, I found </span></span></div>
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<span style="color: #38761d;">a range of suitable categories in
which to place descriptions of singing in opera. Critics can relate the singing
they write about to singing that they consider well-known to their readers or
listeners, in comparison with other roles or other singers. Technique comprises
diction and phrasing, as well as accuracy of hitting the right notes, control
of the singing, and that implies control of breathing, security and projection.
Energy and persistence are related to this. With all of these, the singer has
to make an effort, but the better the singer, the less of that effort will be
obvious to the audience. Singers will be judged by the way they are able to convey
the character’s emotions not only in their acting on stage, but through their
voices. Sometimes critics will relate singer’s physical qualities to their
singing. The kinds of sound the singer emits find a wide range of depictions,
with comparisons or metaphors related to the music theory, to the senses, and
to animate or inanimate objects. In the context of music theory, the sounds of
voices are related to the Fach, (such as lyric or dramatic), to the voice range
(for example, a tenor who sounds baritonal), or epoch or style in the history
of music (such as <i style="mso-bidi-font-style: normal;">bel canto</i>). In the
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metallic. In the context of the senses, the visual sense dominates with terms
from colour, light and width (golden, siver; dark, bright, shiny; lissom,
slim). The sense of touch appears in the context of singing described as smooth
or rough, or velvety, or the metaphorical use of temperature, such as warmth.
The sense of taste comes in through references to flavour, such as “sweet”. The
sense of hearing is represented by terms such as “resonant” and “ringing”, or
references to “clarion”, or musical instruments such as trumpet, and fanfare. (<a href="http://www.dmd27.org/DMD3.pdf" target="_blank">2014: 58-59</a>)</span></div>
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<span style="color: #38761d;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">What can we
expect of the singing of Wagner at one of the many municipal theatres in
Germany, Theater Bremen, and Covent Garden? Many of the singers in Bremen are at
early stages of their careers: their membership in the Bremen company is their
first or second such permanent contract, following years of training and
occasional guest appearances. Some of them may be destined for more prestigious
opera houses, in Germany and beyond. For some, the size of the Bremen stage and
auditorium represents the best conditions for their voice: it may well be very
beautiful in that context, but would be too small for larger spaces. Often,
prestige goes hand in hand with stage and auditorium size. As a result, many
fine singers are underrated internationally: their voices may be more musical
and beautiful than those of the star singers, but the size of those voices is
just not suitable for the large opera houses that define (and that can afford) the
stars. </span></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; height: 157px; text-align: left; width: 245px;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjQec8QiVUDtX3Alfq98YO0kav2yzxVKFBqRXkQxov8AuNOhSwzYzDBIuHJvnQTjWdUNcYPydabZXWZ6Sff0vrtC2WPzGGqvxyYMtf3HW6-og4SUmbLLw-ev2ZHiwbg41Dv20KCL2gemaT/s1600/4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjQec8QiVUDtX3Alfq98YO0kav2yzxVKFBqRXkQxov8AuNOhSwzYzDBIuHJvnQTjWdUNcYPydabZXWZ6Sff0vrtC2WPzGGqvxyYMtf3HW6-og4SUmbLLw-ev2ZHiwbg41Dv20KCL2gemaT/s320/4.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> <a href="http://www.theaterbremen.de/de_DE/spielplan/parsifal.1090420#fotos" target="_blank">Nadine Lehner (Kundry), Chris Lysack (Parsifal), andPatrick Zielke (Gurnemanz).</a> <br />
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<span style="color: #38761d;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">A few examples from the Bremen <i style="mso-bidi-font-style: normal;">Parsifal</i>:
Patrick Zielke has a very strong, rich and healthy bass voice, ideally suited
to the challenging part of Gurnemanz. He was able comfortably to be heard
above, or through, the full orchestra when necessary, but was also able to
provide piano nuances of some of the calmer passages of Gurnemanz’s narration.
There was as yet not too much in between distinct singing in either forte or piano.
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<span style="color: #38761d;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">Nadine Lehner as Kundry has an
impressive repertory of roles across the mezzo-soprano and soprano range. She
has been in the Bremen company since 2004, and is expanding her work with guest
appearances in smaller roles in larger houses, including Deutsche Oper Berlin.
Her singing of Kundry was very nuanced indeed, rich in tone across the whole range
composed for the part. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv0wVleGKkaJitPxpTvrdXQ-OslVxk34_tZW_b-KqA_XEm3tgEIrdw9kkP-ejXpDs4cr1WifWwUrxqS3z5O2vxbuLFIEvbJTAzQfrWlsEFC8nx2fkCZSL9vth9mqbbdlPyN5CswhyzwJms/s1600/6.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv0wVleGKkaJitPxpTvrdXQ-OslVxk34_tZW_b-KqA_XEm3tgEIrdw9kkP-ejXpDs4cr1WifWwUrxqS3z5O2vxbuLFIEvbJTAzQfrWlsEFC8nx2fkCZSL9vth9mqbbdlPyN5CswhyzwJms/s200/6.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://jessicamusic.blogspot.co.uk/2017/03/dragons-take-over-covent-garden.html" target="_blank">Gwyn Hughes Jones as Walther</a></td></tr>
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<span style="color: #38761d;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">Very interesting in the context of Wagner operas are the achievements of the tenors.
Chris Lysack was Parsifal in Bremen, Gwyn Hughes Jones was Walther in London. Hughes
Jones achieved the kind of glorious, open-voiced singing one expects from
Covent Garden in his prize song, at the end of the evening. I hope he will be
able to develop the voice even further, to sustain that sound throughout. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd8oLJqKyc9kJOntYZaWPRPMB3-wHXLnj7QAxQR2SoRJRrlKEWLnh29RXm1a0yutC1Erv1HYza8D2UKLcnr-cgA0WHr4QXViY5g_g-aSg3cAaNK8l3WLt72mqTKmMJnSRl_m0qv0PtMc0-/s1600/5.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd8oLJqKyc9kJOntYZaWPRPMB3-wHXLnj7QAxQR2SoRJRrlKEWLnh29RXm1a0yutC1Erv1HYza8D2UKLcnr-cgA0WHr4QXViY5g_g-aSg3cAaNK8l3WLt72mqTKmMJnSRl_m0qv0PtMc0-/s200/5.jpg" width="133" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.theaterbremen.de/de_DE/spielplan/parsifal.1090420#fotos" target="_blank">Chris Lysack as Parsifal</a> </td></tr>
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<span style="color: #38761d;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">Lysack was good for the size of the Bremen theatre, and previous productions he
was involved in took place in venues of similar size. At best, the voice was
free and ringing. However, there were also passages that sounded more strained:
here, more, or different kind of support would be useful in terms of technique.
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<span style="color: #38761d;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"></span></span></span><span style="color: #38761d;"><span style="font-family: "palatino linotype" , serif; font-size: 12.0pt; line-height: 107%;">All of the
Bremen singers managed to achieve a high level of clarity in their articulation
of the German libretto—independent of whether their native language is German
or not. This was not the case for the Covent Garden <i style="mso-bidi-font-style: normal;">Meistersinger</i>, where only Bryn Terfel’s words were clearly
comprehensible all the time, despite the involvement, according to the credits,
of a German language coach. If Bremen can achieve such clarity, Covent Garden
should be able as well, especially within the time frame of a new production as
this one, compared with less time available to mount a revival of a production
already in the repertory. The Bremen chorus sang more in unison than that in
London. The prompt in Bremen gave the singers most of their lines, very audibly
in the front row. I remember some of this excessive prompting from Wagner
productions I saw in Düsseldorf in the 1980s, so perhaps this is more common in
the German system, but it is distracting and one would expect singers across
the world to be confident in learning their lines as part of their profession. </span></span>
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Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0tag:blogger.com,1999:blog-1691910621333814851.post-90803608024903521772017-03-20T18:14:00.000+00:002017-03-20T19:09:02.512+00:00Opera - seats and productions<!--[if !mso]>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<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" 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"/>
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<span style="color: blue;"><span style="font-family: Times,"Times New Roman",serif;"><span style="color: blue;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 107%;">Two productions of Wagner operas I recently
attended form the basis for my first formal blog entry: <a href="http://www.theaterbremen.de/de_DE/spielplan/parsifal.1090420#fotos" target="_blank">Parsifal at Theater Bremen</a>
and <i><span style="font-style: normal;"><a href="http://www.roh.org.uk/productions/die-meistersinger-von-nurnberg-by-kasper-holten" target="_blank">Die Meistersinger von Nürnberg</a> at the Royal Opera Covent Garden</span></i>. For Theater Bremen, a
medium-sized German municipal theatre, it was the first <i>Parsifal </i>for 40 years. For Covent Garden, one of the leading opera
houses world-wide, it was the first new production of <i>Meistersinger</i> since 2012, but altogether the 237<sup>th</sup>
performance of the opera. In Bremen I sat in the front row for £ 48, in Covent
Garden I squatted in the lower slips for £ 20 (the front row would have cost me
£270). After the first act of <i>Meistersinger,
</i>when I got up from my seat, my entire body was aching from the position I
had to adjust my body to so as to be able to see part of the stage. I was lucky
that the seat to my right was not occupied during Act I, and that the young,
green-haired German lady who came down to sit there from her seat much higher
up in the amphitheatre was slim, as was the Asian lady to my left. Constant
physical contact was still inevitable, and if my neighbours had been bigger we
would literally have been sitting on each other’s laps. Such proximity is
similar in other parts of the Covent Garden auditorium, at prices closer to £
100. It is taking the idea of <i>communitas</i>,
of shared experience, to different dimensions. Reference to the building being
old does not justify not bothering, it seems, in a major refurbishment such as the
Royal Opera House underwent some time ago, to consider physical spectator
comfort. </span></span></span></span></span></span><br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijaCGXa0iAj-B7y1xmWddAtMkcTWDe5IgmCYtX9S1-rjk537HwQNlbbk4SJXse7synqdlXAfv0kBk7_bdHG1Lrk9wnAmRls6Pkg2uLS1GoLi34DYBeyw6sXzmipAbs4_YeZQdKkrerYzq3/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijaCGXa0iAj-B7y1xmWddAtMkcTWDe5IgmCYtX9S1-rjk537HwQNlbbk4SJXse7synqdlXAfv0kBk7_bdHG1Lrk9wnAmRls6Pkg2uLS1GoLi34DYBeyw6sXzmipAbs4_YeZQdKkrerYzq3/s200/1.jpg" width="200" /></a><span style="color: blue;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 107%;">The relatively new <a href="http://www.norway.or.kr/ARKIV1/Old_web/culture/nyopera_2008/#.WM_7HaKkJPY" target="_blank">Opera House in Oslo, Norway</a> has arranged even the “cheap”
seats, the ones furthest away from the stage, in such a way that they are
comfortable to sit in.</span></span></span></span><span style="color: blue;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 107%;"><span style="font-family: "times" , "times new roman" , serif;"> </span>On the sides of the tiers, the “slips” as they are
referred to in Covent Garden, the seats face the stage, not the opposite side
of the opera house. </span></span></span></span></div>
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</div>
<div class="MsoNormal">
</div>
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<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 107%;"> </span></span></span></span></div>
<div class="MsoNormal">
<span style="color: blue;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="line-height: 107%;"></span></span></span></span><br />
<div class="MsoNormal">
<span style="color: blue;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 12pt; line-height: 107%;">Conventional theatre plays and conventional operas
tell stories. They did so when they were first written and composed, they do so
today. Directors of opera seem to be under considerable pressure to tell new
stories with old material, to find new, novel, and original interpretations of
the old stories. Marco Štorman in Bremen places the orchestra for the first and
third acts at the back of the stage, while the singers in the first act appear
to be arranged behind their music stands as if for a concert performance or a
semi-staged production. However, the singers’ make-up and costumes suggest
right away that they are “in character”. Parsifal comes down from the ceiling
in parachute harness, in Act III he is accompanied by four boys who taunt
Gurnemanz. While this does not directly distract, it does not tell a story.
Neither does Covent Garden’s outgoing Director of Opera Kaspar Holten’s
production of <i style="mso-bidi-font-style: normal;">Meistersinger</i>. It is
set in a contemporary London men-only club with its strange procedures and
rituals. Why shoemaker Hans Sachs, in Act II, goes about his job with tools
from a toolbox in that club’s premises is just one of the issues that remains
unclear and does not make sense in the chosen context. </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNwwLOzGvXwnaJjKPd3-vs84jN11cFgKY6Ub2m-Jf0lLDiLbADMZm3LEv7frp9UrOureBDSAfdbV29UOk2jwK9XMuxWHkpEJJZAoLPjqyhlb0LVPU5ImDRyD43NSlJAKxUAd6rJ9KIJhEB/s1600/2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNwwLOzGvXwnaJjKPd3-vs84jN11cFgKY6Ub2m-Jf0lLDiLbADMZm3LEv7frp9UrOureBDSAfdbV29UOk2jwK9XMuxWHkpEJJZAoLPjqyhlb0LVPU5ImDRyD43NSlJAKxUAd6rJ9KIJhEB/s200/2.jpg" width="200" /></a></div>
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<span style="color: blue;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 12pt; line-height: 107%;">I am reminded of </span><span style="font-size: 12pt; line-height: 107%;">Stefan Herheim’s decision of
setting<span style="font-family: "times" , "times new roman" , serif;"> <a href="http://wagneropera.blogspot.co.uk/2010/03/tannhauser-in-oslo-major-achievement.html" target="_blank"><i>Tannhäuser</i></a> </span>in
contemporary Oslo among the Salvation Army. I wrote about that production: </span></span></span></div>
<span style="color: blue;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
<div class="MsoNormal" style="text-indent: 1.0cm;">
<i><span style="color: blue;"><span style="font-family: "times" , "times new roman" , serif;">Herheim transposed the opera’s medieval
plot to the 21<sup>st</sup> century. The set consists initially of an empty
stage surrounded by mirror panels. For the overture, images of the outside
environment of Oslo’s opera house are projected on to those panels. The members
of the chorus play men who work in the city, with suits, coats and briefcases.
Tannhäuser, a member of the Salvation Army, appears in Salvation Army uniform,
and seeks to communicate with the city professionals, but nobody stops to
listen to him. So he gets fed up with that environment and seeks out Venus and
her pleasures. In an instant, the mirror panels turn, and reveal, at multiple
levels from the floor to the ceiling, scenes from opera productions across the
canon. Venus appears in a contemporary evening dress in an opera box in the
same style as the Oslo opera house where the audience are watching the opera,
and invites Tannhäuser to join her there. The sensual pleasures Venus has to
offer are thus to be understood as the pleasures of opera. Some of the panels
revert to their mirror nature, and now without projections on to them, they
reflect the real audience on the night of the performance. The visual effect of
this scene is stunning, and it is not surprising that more than 100 stage hands
were needed to achieve the effect.</span></span></i><span style="color: blue;"><span style="font-family: "times" , "times new roman" , serif;"><i>The grand hall in the Wartburg used by
the minstrels for the singing contests becomes a Salvation Army headquarters,
and the long musical introduction to act two, before Elisabeth starts her aria,
is spent by some warden of the Salvation Army clearing the hall of the homeless
people who have spent the night there, prior to them receiving free breakfast.
Thus there are very impressive sets and scene changes, and those facilitate a cogent
re-interpretation of settings within the chosen Salvation Army context.
However, the success of the transposition of the medieval context of the
original plot to the 21<sup>st</sup> century comes at the expense of a
reduction from Wartburg to the Salvation Army, and the resulting depletion of a
potentially spiritual context.</i> <a href="http://www.brill.com/products/book/theatre-opera-and-consciousness" target="_blank">(2013: 94)</a></span></span></div>
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<span style="color: blue;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="color: blue;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 12pt; line-height: 107%;">In contrast to
the Bremen <i style="mso-bidi-font-style: normal;">Parsifal</i> and the London <i style="mso-bidi-font-style: normal;">Meistersinger</i>, Herheim’s Oslo <i style="mso-bidi-font-style: normal;">Tannhäuser </i>production was an example of a
radically new interpretation able to tell a compelling story. In the context of
theatre, a success story of setting an old text in contemporary times was
Ostermeier’s 2006 production of <i style="mso-bidi-font-style: normal;"><a href="http://www.schaubuehne.de/en/productions/hedda-gabler.html" target="_blank"><span style="font-style: normal;">Hedda Gabler</span></a></i> at
the Berlin Schaubühne. <span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<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" 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"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hashtag"/>
</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0cm;
line-height:107%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri",sans-serif;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;
mso-fareast-language:EN-US;}
</style>
<![endif]--><!--[if gte mso 9]><xml>
<o:shapedefaults v:ext="edit" spidmax="1027"/>
</xml><![endif]--><!--[if gte mso 9]><xml>
<o:shapelayout v:ext="edit">
<o:idmap v:ext="edit" data="1"/>
</o:shapelayout></xml><![endif]--></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
</div>
Daniel Meyer-Dinkgräfehttp://www.blogger.com/profile/07176039752600128337noreply@blogger.com0