Question #5: Who is Albrecht's realtor?
Posted 16 April 2001 - 12:37 PM
What do you think of the hut, and what, if anything, can be done about it?
(p.s., thanks everybody for participating -- this forum is off to a great start, and I think will prove to be fun)
[ 04-16-2001: Message edited by: alexandra ]
Posted 16 April 2001 - 03:44 PM
Posted 16 April 2001 - 03:57 PM
I didn't know about this mime....very interesting--thanks!
Posted 16 April 2001 - 07:47 PM
Posted 16 April 2001 - 07:59 PM
Jane, why does Albrecht need a key while Hilarion, the village break in artist, just walks through the front door (in some productions; in others, he jimmies the window. One Bolshoi production had a sliding window).
At first, I just accepted this, but after 200 or so "Giselles" it's become a major dramaturgical annoyance. I want Wilfrid to trudge on and take the "For Sale by Remax" and that cute little red balloon off the front lawn before Albrecht's first entrance. Two solutions I've seen, one low budget, one high are: the Moscow Festival Ballet, which just brought their touring production to the DC area, simply dispensed with the hut. Albrecht dumps his sword and cloak in the woods. (And prances around wearing white shirt and tights and a sparkling silver vest, just what the average Silesian would wear on a Saturday.)
Erik Bruhn's production for the Royal Danish in 1978 added what I think is a brilliant solution. He gave the hut to Albrecht's old nurse, now pensioned off and living, with her husband, in the village. It not only triples the adult population of the village, but gives Albrecht an excuse to visit -- he's a kindly boy who still looks in on Nanny -- and a place to change clothes. The know what he's doing, but are both doting and doddering and merely admonish him to be careful.
Posted 17 April 2001 - 12:23 AM
Posted 17 April 2001 - 11:12 AM
Posted 17 April 2001 - 11:36 AM
The "just ditch the stuff in the woods" solution is simpler, though. Then you have to deal with, how does Hilarion know exactly which rock he hid the sword under, but since all of that happens in the wings and we don't see it, they got away with it.
Posted 17 April 2001 - 08:06 PM
Posted 17 April 2001 - 10:34 PM
Posted 20 April 2001 - 12:13 PM
....At first, I just accepted this, but after 200 or so "Giselles" it's become a major dramaturgical annoyance.
Poor Alexandra! Too many Giselles!You're watching it from the inside-- like worrying about the props the way the prop mistress would. But tell us, if you really really love the dancing, do you still worry about the real estate? Or does suspension of disbelief require sensible underpinnings? I tend toward the latter myself, I must admit. I don't care what the rules are, but within the system I want consistency.
Posted 20 April 2001 - 12:58 PM
I once read (perhaps in her autobiography) that Fonteyn knew everything about Giselle -- the furniture inside her house, what she ate, etc. -- but nothing about Odette. She felt that Odette (we'll get to her in a few weeks) was an abstraction of Woman, where Giselle was a person. I think that kind of thinking by the dancers makes a huge difference.
Back to Albrecht's hut, the original set for the second act of "Giselle" was quite different, much more elaborate, than what we're used to. Trap doors, moonlit ponds, fronds everywhere. Not to forget the gaslight and its blue ghostly glow. Perhaps there were more houses in the village -- or at least indications of houses -- so that you're not looking at an early version of urban renewal.
Posted 23 April 2001 - 02:00 PM
Posted 30 April 2001 - 03:40 PM
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