theconversation.com: The new production of Mozart and Lorenzo da Ponte’s classic opera Così Fan Tutte has attracted no shortage of controversy. After its premiere in Aix-en-Provence in France in July, the organisers of the Edinburgh International Festival wrote to all ticket holders offering a refund “due to the adult nature of some of the scenes” and its unsuitability for younger audiences.
4 comments:
I find that this is a wonderful way to tie the play into the modern era. Mozart was historically crude so i see no problem in using that as a way to show the deceit and violence of men.
I guess I would have to see this show to appreciate it, but the way it's describes just sounds like my literal nightmare. I have yet to see any sort of opera I have enjoyed, maybe that's just me not being exposed to good opera or needing to grow into it, but I don't even like most modern operas like Rent and Next to Normal. Black face? No thanks. I understood what they were trying to do with the black face when the author pointed out the relationship between racial tensions now and then, but still. Not the best. A lot lot lot of rape? Also not the best. Do I understand the desire to shock audiences with horrible, explicit imagery? Yes. Do I want to actually go see it? No.
The thing that bugged me the most about this article wasn't even all the obviously bad stuff, like the black face, rape, and opera, but the last paragraph, when the author talks about their friends who were just, not phased by it. "I guess they just are more artistically minded and not easily offended," well, then your friends are weird. I would be hard pressed to find a friend who wasn't severely uncomfortable in the audience for a show with black face, incessant rape, and no musical breaks.
I feel like there are a lot of problems with this article, and with the portrayal of this show. Not that I have seen it or know anything more about the show than what I have just read, but I feel like I can easily say that I would not enjoy it. I don't even want to entertain why I am not interested in watching a show where the actors are in black face. Black face is HORRIBLE and completely inappropriate and we are past a time where that should be acceptable in any form, artistic or not. It is not okay to put that on stage under any circumstances, ever. Never. Never. Rape, while still an incredibly sensitive topic, can be used in it's smallest and most delicate forms to make a statement in a piece. However, it is still not something can be discussed or shown without substantial warning for the audience, and without tasteful or sensitive portrayal. This show does not sound like it does either of those things. Not only do I have no interest in seeing something that is so incredibly out of touch and offensive, but I'm incredibly concerned that there are people who do. We are supposed to be leaders in acceptance and innovation and all this show does is take one giant step back. I am disappointed in it, and expect more from the people I have chosen to be in a community with. As I believe I should be.
I do agree with this author on one count, that opera needs to be modernized if it is going to thrive. While on paper many of the stories opera tells are exciting and interesting, if out of date, the typical way they are portrayed has reduces them to grand costumes and sets and beautiful singing but not much more. There is nothing to grabs the hearts of modern audiences, to grip their chests and get their pulses racing. In my experience, I find there is not much to relate to emotionally in opera. I appreciate what this opera was trying to do with their production, but from this article I get the feeling that they overshot by miles and landed comfortably in “shock for shock’s sakes” territory, which given the sensitive subjects they were trying to push was a horrendous mistake. I think blackface is no longer acceptable under any circumstances and would certainly be uncomfortable watching it. Rape I think is a tricky subject to portray onstage and must be done well, though I would argue not delicately as Sarah says because rape is not delicate, it is horrible and messy, and if you really want the audiences to feel that you have to push the boundaries. But portrayal of rape must be done carefully, sparingly, and with the utmost respect for people who have survived such a traumatic and terrible event. However, what really troubles me more than anything about this article is the blasé way the author discusses the production and in the end dismisses it as “a bit of a storm in a teacup.” I am disturbed that a fellow artist’s world view could be so desensitized that they can watch a show like that and not be deeply troubled by this new take on an already sexist and problematic show.
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