Giselle's Death: Should Albrecht Stay on Stage?
Posted 23 April 2001 - 07:12 PM
Ah, but see, my own words have given me an idea. If he is shocked, then certainly he'd run off and find himself a quiet glen to recuperate and gather his thoughts.. or would he? Love is just another one of those mysterious things, so enigmatic and within itself... some poets may say their love is so evident, so bold, and yet.. to paraphrase the oft said "The littlest actions have the biggest meaning", perhaps "The biggest actions could have the smallest, most underlying details that no one at the time even bothers with but when they get home and hang up their coat, they remember and then become puzzled".
Just another question..
[ 04-23-2001: Message edited by: Lukayev ]
Posted 23 April 2001 - 07:45 PM
I think what happens has to be a function of how Albrecht is played earlier on. If he's played as a cad and then runs off, there is no convincing reason why he has become so remorseful between Acts I & II. It makes me envision an Act II in which Albrecht fails to show up at all! I think I've said in other posts on the "Giselle" topic that I think Albrecht IS a cad and MAY have had a girl in lots of the local villages. I think the point then becomes that THIS time he is forced to face the enormity of the results of his actions, and he is completely shocked. It is almost as though this is the first time that he has seen one of the peasants as creatures capable of having feelings.
Posted 23 April 2001 - 08:07 PM
Posted 24 April 2001 - 08:54 PM
Posted 24 April 2001 - 09:25 PM
Posted 25 April 2001 - 02:57 AM
Posted 25 April 2001 - 06:35 AM
i recall a friend telling me of a production she saw in britain in the 1940s wherein robert helpmann, upon finishing his variation in act ii, quite properly collapsed on the stage and then after a minute, got up, took a bow, and got back down on the floor! :rolleyes:
Posted 26 April 2001 - 08:43 PM
Posted 26 April 2001 - 10:17 PM
Carreno did his bow to the audience in the second act -- I actually didn't mind it; I thought, rightly or wrongly, he's doing what he was taught. But Belosertkovsky did the same thing the next night and made it work dramatically, because he bowed to Myrtha, and not the audience. Got twice the applause for it, too
Posted 28 March 2008 - 10:05 PM
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