“The Met breaks tradition, and I will be white,” Mr. Antonenko shrugged as he was powdered in his dressing room.
Friday, September 18, 2015
An ‘Otello’ Without Blackface Highlights an Enduring Tradition in Opera
“The Met breaks tradition, and I will be white,” Mr. Antonenko shrugged as he was powdered in his dressing room.
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It's difficult to see the Met transpiring and agreeing to continue with this disturbing tradition, as I've always loved the work that Met has done time and time again. I can understand the two arguments composed, and it seems like the crowd is split between traditional and progressive people. Honestly, it's ridiculous that the author of the article can point out so many instances of the lack of diversity in opera in just this coming season. It boggles my mind that there is absolutely no black opera singer in the world who would and could play Otello at the Met, if given a chance. And wouldn't having a black actor actually save time and money? If you're thinking about how long it takes to put a white actor in makeup, and how an actor is paid for every hour they're in the theatre getting ready, then you've probably spent a lot of cash on something that isn't necessary. It doesn't make sense anymore for us to keep perpetuating black, yellow, or red face anymore, especially when we have the diversity and relative equality that makes it easy for people of all colors to become opera singers and play the roles they desire. Classical pieces, in my opinion, either have to keep up with the times and get rid of disgruntling Orientalism, or get lost in the ether forever.
I think its great that opera is moving away from using blackface. This kind of racism is something theater has had a problem with for a while. Shows will regularly cast Asian characters as white even when they have accesses to Asian actors, and from the sound of this article opera has the same problem. We live in a strange world, one where, unlike most businesses, we can make decisions about hiring and firing people (actors at least) based on their appearance. Unfortunately, instead of using this freedom to find the best actor for the role it often gets used to find the best white actor for a role. Its almost like there’s a lingering assumption in theater that the audience will relate better to a white actor, even if the character they’re playing isn’t white. Whatever the reason this move away from outdated and racist practices is a highly welcome change.
Ugh. I hate some of the feedback this company is getting, although I’m not surprised. Good on you Metropolian Opera, take your stand regardless of how late it is.
It bothers me to no end that these companies would rather paint a white actor black than higher a black actor. I understand that like this article says, it’s almost always about the vocals with Opera, not necessarily the looks, but if that is the case then why is the black face incorporated at all?
These “traditions” do not only reflect the past but can possibly become a look into the future. You have to look at what these companies say to young aspiring children, the white one’s see that they can have any role they want, even one specifically written as a separate skin color. While the black ones interested in ballet or opera look to the stage to see no one like them, but instead other white people painted to look like them. Who would pursue that field? It’s a cycle, a cycle designed to keep an ‘elite’ area of the arts ‘elite.
Francesca Zambello words this issue perfectly: “If I were casting ‘Otello,’ I would work hard to find a black man who is vocally and dramatically appropriate for the role,” she wrote in an email. “But if I could not, I certainly would not present another singer ‘blacked up.’ The great stories and characters fascinate us because we recognize something of ourselves — for better or for worse — in them, and not because of the color of their skin.” This is the standard that all classical theatre should move up to. Racism and stereotypes run deep in such traditional and classical roles and yes, while some opera buffs claim that blackface is in the name of artistic expression, it’s the freakin’ 21st century. This brings me back around to the production of Mikado by New York Gilbert & Sullivan Players and how quickly it got shut down by the media by performing in yellowface. It’s infuriating to know that there’s an audience and producers out there who still think that playing blackface and/or yellowface is okay and that if it didn’t occur, the integrity of a play would be damaged. I can suspend my disbelief in order to watch a non-offensive version of plays like Othello or Mikado. It’s always quite interesting to me that the norm for roles like these cast all white actors. I’m not sure if it’s because there’s not enough “non-white” talent for opera roles or if it’s because of BS long time traditions.
As far as breaking tradition in theatre, I think that the Met is doing something absolutely essential at a very critical time. Something very similar occurred this summer at Houston's Alley Theatre, where Larry Shue's "The Foreigner" was played for the first time in a few seasons. The play itself is a raucous comedy, and the Alley has a talent for keeping audiences engaged and grinning with such works. However, some issues in the text involving the Ku Klux Klan and racial discrimination led critics to believe that today's events involving racial discrimination would not benefit from such a production. The Alley defended its production on the principle that highlighting the ridiculously unnecessary xenophobia on top of which the plot rested was a perfect example of how few people actually believe this type of discrimination could be happening - even though all newspapers point to yes. By removing black-face from their Otello, the Met is making an important case for what it means to paint race on as if it is nothing but a matter of makeup. More so, though it may not place them in the most positive light, the Met highlights how in today's world we are still giving white men autonomy over the portrayal and voice of black men. Yes, it is sad that they couldn't have gone a step further by simply casting an equally talented black actor in the role. No, simply removing an offensive additive is not a solution. It is, however, a start in changing an artistic tradition which no longer reflects or represents the world we must seek to change and influence with that art. Therefore, the Met is doing something highly necessary.
This topic raises questions that are becoming extremely relevant in our society, for as racial and ethnic boundaries are being broken, certain traditions now are looked upon with a critical eye. With such a culturally rich history as opera, many customs go unchallenged, as our conception of "high culture" is often linked to tradition, which indeed includes racial, sexual, and culturally insensitive areas that are only now being evaluated for their relevance and propriety in our global era. What really is at stake here is cultural empathy, and distinction between tradition and cultural egotism. The Met is the perfect cultural touchstone to tackle this issue head-on, as a leader of a given field often makes the most waves when going against the grain, setting the stage for its peers to follow suit. Perhaps with the removal of blackface, 'Otello' can now be celebrated for its themes and customs which still hold relevance to our culture, without the burden and restraint of outdated customs.
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