Question #3: How does Giselle die?
Posted 15 April 2001 - 06:24 PM
[ 04-16-2001: Message edited by: alexandra ]
Posted 15 April 2001 - 08:51 PM
Posted 15 April 2001 - 09:34 PM
[ 04-15-2001: Message edited by: BalletNut ]
Posted 16 April 2001 - 12:29 AM
Posted 16 April 2001 - 02:11 AM
In any case, it's out of the question that if Giselle dies from suicide she is buried in sacred ground. But the forest is not convincing either, as in some productions there seems to be a whole collection of graves in the forest: cemetery in the forest, or... ?
Another question, if Giselle indeed dies of suicide and is not supposed to be buried in sacred ground, why is her grave so elaborately built ? And why does it take Hilarion and Albrecht so long to visit the grave ?
[ 04-16-2001: Message edited by: Marc Haegeman ]
Posted 16 April 2001 - 06:50 AM
Religious canons of the Roman Catholic church in the 1840s held that a suicide was guilty of murder, and usually died before confession could be made and was therefore unabsolved of that sin. Today, the view is that anyone who intentionally kills her/himself is de facto insane, i.e. suffering from a disease, and death as a result of a disease is not, of course, a sin.
[ 04-21-2001: Message edited by: Mel Johnson ]
Posted 16 April 2001 - 08:43 AM
Lovely though the ABT second act sets are, I think they are stronger on atmosphere than dramatic sence, because it is clearly set in an old graveyard with lots of crosses and a ruined church. Again, not the place where ghosts who are powerless in the face of Christianity would dance.
Posted 16 April 2001 - 12:25 PM
On the question of the burial site...if, indeed, Giselle is really "out-of-her-mind" at the time of her demise---she can be buried in the Churchyard.
Posted 16 April 2001 - 04:21 PM
She was, in my opinion, a very fine dramatic Giselle, although Beriosova was always my favorite. She was also tall, but seemed more frail and she did not use the sword.
Posted 16 April 2001 - 05:08 PM
Posted 16 April 2001 - 08:40 PM
On another point brought up here, It doesn't seem completely unthinkable that the Wilis could be "associated with", "hanging out at", or um..."living" in a graveyard, one where Christian graves are almost all topped with crosses. Heinrich Heine's concept of the Wili does not appear to imply that these poor maidens were sinners and condemned to be buried apart from other Christian church-goers. That has been mentioned here, but where did that idea come from? They are clearly pitiable maidens who, like Giselle, probably died of broken hearts. Wouldn't they likely be buried in the church graveyard? The traditional place for "ghosts" is certainly the graveyard, eg. when you were a child (or perhaps even now) did you not "whistle by the graveyard" to keep the ghosts of the dead buried there from intercepting you unexpectedly as you walked past? The placing of the Wilis in the forest is confusing, to be sure. This does take place is Germany, notable for its great forests close upon its towns! Perhaps this is a more interesting place to dance in the moonlight than around the gravestones.
Also, are the Wilis generally portrayed as spirits with a desire to capture, through dancing to death, those (particularly young men) who happen to encounter them in their nightly release? That seems an obvious follow-on to their deprivation in life. This was clearly the implication in the Kirov production as well as the Hartford production I saw. Are they not somewhat like Yeats's Sidhe, "...if any gaze on our rushing band, We come between him and the deed of his hand, We come between him and the hope of his heart...." So their objective is not simply to dance....
Actually, during the performances I was blithely unaware of these subtleties, its usually only when I read this board that I wonder that I may have missed something. Is it possible the original creators Gautier et. al. didn't really think through all the details completely?
Posted 17 April 2001 - 06:23 AM
Peter Wright made it clear during a masterclass that he saw two different things in Giselle picking up the sword: a death symbol and a phallic symbol. First she is fascinated and describes a circle with it, then it seems as if the sword is attacking her, making serpentine movements with it and fascination turns into terror.
Posted 17 April 2001 - 10:37 AM
Posted 17 April 2001 - 03:33 PM
Posted 21 April 2001 - 01:16 PM
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