Category: theatre

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Essay: On Community, Culture, Vanishing, And The Usefulness Of Shells

The bonds formed and broken over the course of the past twenty-two months has led to reevaluations around relationships, and the kinds we want, and don’t want, in our lives. Complex equations relating to time and energy, volume and content, content and quality are being weighted against sheer exhaustion; many are just so tired and often feeling so much older than our years. If age is most accurately measured in moments than time, as Lord Byron implied, there are a good few of us in the arts who have been rendered ancient between March 2020 and now. That sense of aging has played a significant role in why and how relationships have shifted and changed. Sarah Miller’s “On Not Talking To Someone Anymore” (at her website) and Katharine Smyth’s “Why Making Friends In Midlife Is So Hard(The Atlantic) are documents of people reaching a certain pandemic point and realizing things have irrevocably shifted, for good and bad. The corona era has made those positive/negative lines sharper, and blurrier, at once; has what’s been lost, especially in middle age – outside of the physical – may or may not be worth mourning.

That loss seems more pronounced in some spheres than in others; the high-wire act of balancing solitude and community, isolation and relating, very much powers cultural expression. Vanishing and being vanished on, the sorts of people we spend time with or move away from (literally and figuratively), the nature of our relating, alone and otherwise – these notions hold particular relevance in an age where community matters less and more, at once. Such presence is more fraught (again, literally and figuratively) than at any other point in recent memory. In her piece, Miller points out that the reasons behind silences can, at least sometimes (and if you ask), be reduced to the petty, the mundane, the cutting truth (or untruth) of seeing yourself and your behavioural choices through another’s eyes (whether you have vanished, or been vanished on), and of the painful divides when experiences, time, and nostalgia for the passing of both are mismatched to the onerous realities of the present. Smyth explores the strangeness of connecting in a strange place, inwardly and outwardly, in engaging in a practice one less considered than simply enjoyed, and the various nuances of experiential difference that adhere to the digital pursuance of such. The profound loss to which articles both allude has been magnified by the relentless ephemerality of digital platforms carrying the ironic title of “social”, outlets which encourage anything but phones-away, non-posting, simple, human relating. Social media platforms, as many know, play to pandemic times: avoid safely, connect comfortably. Observing endless streams of photos posted by high school/elementary school friends/exes/co-workers/colleagues/casual contacts, one tends to automatically engage in the algorithmically-calculated behavioural compunction toward comparison-making. It is a human urge which technology has become adept at identifying and exploiting. The urge toward comparison becomes all the more pronounced when some places have live performance, and some places don’t – where some places have full houses (and antecedent requirements for that to happen), and some places outright cancel events. Such contrasts have a sometimes acidic effect for those of us in the arts, who have lost work or are still looking, who are looking to bump up CVs and pay bills. Not being a part of regular crowds these last almost-two-years (and thus not working, for the most part) encourages an insularity whereby anything good that happens to someone else, and thusly advertised, is now suspect. Envy, most especially within the cultural realm, has been writ large; those who have are in such sharp contrast with those who have not. What should be unvarnished joys – a new job, a trip, an excursion, a concert, a conversation – are flashpoints for lack, reminders of non-abundance and ultimate separation.

So much of what gets shared now seems mundane, overwrought, calculated, or a strange combination therein. People have largely burrowed into the, to quote Jim Morrison, “woolly cotton brains” of the familiar, following or leading lessons online whilst baking bread, with dusty blinds, gritty floors, and rattling furnaces intact. Ah yes, we say, seeing such familiar elements of the quotidian to which we’ve been reduced, I recognize that, yes. The yeast/flour scarcity in early 2020 has morphed into current supply-chain issues; baking shortages led to furniture shortages, and now, apparently grocery shortages, the very place the money once spent on cultural excursions, now doth flow. The familiar has become a safe bubble to love and resent, a strange new counterpoint of the era. Rising economic uncertainty, coupled with financial realities, mean community, as a lived reality, grows more distant under the weight of such mundanities, only slightly flecked these days by random twinkling lights of diversion, originating from strings of lights, rows of candles, and more often than not, a panoply glowing screens that keep us apart, talking (typing, tapping) about the same mundane things we all watched or saw or tweeted. Opening up to 50% capacity in Bavaria is a big deal – to hell with the screens, hurrah!

snail, garden, mollusk, shell

Photo: mine. Please do not reproduce without express written permission.

But Mein Gott, who would go? Should I? Will I die going to see a concert or an opera? Or wanting to keep writing about such things? Will I get sick going backstage to interview, to chat, to greet, to hug and handshake? Drinks later? Oder? Was ist noch “normal”? Not being around people, or more importantly, being only around the same tightly-controlled group of people, aggravates such anxieties, leading to a reinforcement of experiential bubbles, and that is, obviously, bad for art, but it is what many are being forced to do, if not through their own choice now, than through guidelines that dictate external conditions. Thus do silence and its hurtful counterpart (vanishing) become as normal as overcrowding and cacophony, as alternating rhythms of zen and anxiety; somehow pandemic has underlined such extremes of living, and creating. I have come to understand, at a deep level, that people with families/partners/networks/busy jobs/illness are juggling heavier balls than I, a family-free freelancer. This isn’t to diminish the sharp and painful realities of solo creative life; lack of regular benefits, precipitous drops in income, whole months of work washed away, to say nothing of continuous days and weeks of isolation, makes those uniquely spiky freelancer balls difficult to keep aloft, and more than once I have dropped them all at once along with the concomitant connections meant to make them feeling lighter and less burdensome than they really are. Having needs isn’t the same as being needy, but often the two have blurred. Things which should connect – common interests, creativity, inspiration – somehow, now, do not. Conversation feels effortful, whether giving or receiving, and when it isn’t, one often feels as if there is a sense of impermanence: so if we have a grand old chat we can be silent for two months, right? We’d all cry out our grief, cry out our disappointed, to paraphrase Rumi, but we’re all too busy trying to survive, and besides who would want to put in the effort to listen to such a racket?

Trying to interact with those with whom we share such commonalities can be (often is, lately) like speaking the same language but with different dialects. Somehow Hugh MacLennan’s ‘two solitudes’ concept takes on a broader and yet more precise meaning; there is no real, shared language but for the words that indicate precise, sometimes intricate division, within the era of pandemic. Talking classical with equally-passionate others isn’t the doddle some may assume; it can rapidly devolve into ferocious spit-balling, name-calling, intransigent foot-stomping, bragging, finger-wagging, or some combination therein. It is not news that people who love the arts (and who work in the arts) hold strong opinions, but that’s where vanishing also (alas) can come in; such relating is exhausting, and everyone is, without question, already so tired, and thus such exchanges become another burdensome ball to keep aloft. The desire to engage in these tribalistic exchanges speaks to a need for (perceived) community, one which is greater than ever, one fostered by a love of culture, and more accurately, its live expression. New avenues can and are created within the heated (if hopefully well-ventilated) atmosphere of shared experience – but such communal engagement can paradoxically encourage a laziness of thought, a dampening of curiosity; there’s a fear of going against the herd indeed, but more than that, sometimes there is precisely no thought given to not fitting in with the herd, to not parrot what everyone says, to apply nuance, to apply context, to ask for clarification and to do so privately. There is an urge to simply agree and to “amplify” (that overused word of the times), an urge applauded and underlined by platforms which, as I’ve written, are meant to encourage the notion of “social.” Lately I have decided to keep most experiences (cultural and otherwise) to myself, to not share, to not opine, to not publicly offer applause or evaluation unless I feel it is truly warranted. I’d rather discuss these things privately with my small if trusted circle, not of necessarily “like minds” but of what I would call “like spirits.” There is more community found with such contacts, many of whom hail from entirely different cultures and backgrounds – we might have a shared love of x-y-z art, but that isn’t the reason we’re friends, and it isn’t the reason we might forgive (or question) each other’s occasional vanishings and silences – and frankly, they have the balls to push back at me as needed. We like context; we like nuance. These things take time and attention, and when there’s time to be made, it is wholly taken. Chemistry can be cultivated, but it cannot be created whole.

snail, horns, shell, movement

Photo: mine. Please do not reproduce without express written permission.

Accepting this has had personal ramifications. I have vanished on many; I have been vanished on. I have become fussier in my interactions, and in the nature of those chosen interactions. This runs parallel with more selective listening and viewing habits; I am no longer a journalist or critic but my critical faculties now come with decidedly sharp edges, ones I wield carefully. In person, I have learned to speak with my eyes – and not. I have learned silence; I have learned to vanish. Interacting from the literal and figurative safety of a monitor has given harsh if vital lessons. Rare is the moment I will drop any mask now, literally, or figuratively. The willingness to be vulnerable is what fuels meaningful connections, of course, but its direct exercise is far more carefully considered. In his book La poétique de l’espace (The Poetics of Space) first published by Presses Universitaires de France in 1957, Gaston Bachelard devotes an entire chapter to shells and their paradoxical nature within the realms of creative human development. He ties artistic life with evolution of living forms, with “these snail-shells from which emerge quadrupeds, birds and human beings. To do away with what lies between is, of course, an ideal of speed… ”. In contemporary terms, that “doing away with” might constitute a great robbery, especially if one considers the heightened speed the digital world of 2022 demands, a pace which conflates perpetuation of connection with meaning, only to encourage its simultaneously illusory nature. Superficial ties are (mostly) easy to break; contacts we haven’t met (or barely met) are easy to vanish on. The people we meet and know are not immune to this virus of speed and ease, either, nor to the subsequent (and often casually done) breaking of those ties, ones which, within the creative realm, can be so inherently valuable. Bachelard continues, and offers a clue as to how to sort the vanishing/vanished-on fraught nature of modern adult relating:

A creature that hides and “withdraws into its shell” is preparing a “way out.” This is true of the entire scale of metaphors, from the resurrection of a man in his grave, to the sudden outburst of one who has long been silent. If we remain at the heart of the image under consideration, we have the impression that, by staying in the motionlessness of its shell, the creature is preparing temporal explosions, not to say whirlwinds, of being. The most dynamic escapes take place in cases of repressed being, and not in the flabby laziness of the lazy creature whose only desire is to go and be lazy elsewhere. If we experience the imaginary paradox of a vigorous mollusk – the engravings in question give us excellent depictions of them – we strain to the most decisive type of aggressiveness, which is postponed aggressiveness, aggressiveness that bides its time. Wolves in shells are crueler than stray ones.

Cruelty, it would seem, has been a hallmark of the pandemic era – cruelty, selfishness, pronounced exclusion and snobbery, behaviours that would seem to confirm beings comfortably, lazily ensconced within respective shells. For live culture and those who live by and for it, there should be another way, but we are all human, none of us (not even artists) above any other with regards to the hurt humans are well capable of inflicting. Let us be wolves, then, in our shells, considering how best to spend and direct our energies; energy goes where attention goes: let us hope we have learned how to direct it wisely. I want to feel such attention can be wielded, if not with great compassion (that seems like a big ask, and not a little precious), then at least with great curiosity, that such an exercise will get us out of our shells now and again, if only to breathe the cold, clean air.

Paris, Palais Garnier, Chagall, opera, opera house, interior, music, culture, history, Europe

Essay: On The “Relatable” – In Opera, And Beyond

Amidst the many classical features published over the past year, the word “relatable” has popped up, an insistent neon sign in a landscape of bucolic rural scenes and insistently grinning portraits. Art, and especially, opera, should be relatable in some way, apparently – relatable as in connecting directly to the viewer’s life, habits, predilections, and peccadillos in obvious and recognizable ways. If Figaro is presented on the stage, we should immediately recognize him, if not as someone else, but precisely as one’s own self: “Hey, that’s me! That’s what I do, that’s how I react, that’s just how I think!” So too for Carmen, the Marschallin, Aida, Papageno, Rigoletto, Lulu, Brünnhilde, Hansel and Gretel, Boris Godounov, the Cunning Little Vixen, the Miserly Knight, Lady Macbeth(s), Eurydice, Rodelinda, Poppea. This desire (more of a demand in some places) to see our immediate and recognizable selves on a stage (on a screen, in a book) is not new. In 2014 American public radio personality Ira Glass dismissed a production of King Lear at the Delacorte Theatre in Central Park, his tweet stating he found “no stakes, unrelatable”, then subsequently referencing 2013 productions of Shakespeare in New York with another pithy tweet: “(F)antastic acting, surprisingly funny, but Shakespeare is not relatable, unemotional.”

Rebecca Mead’s 2014 piece for The New Yorker, The Scourge Of “Relatability”, contextualizes the history of the word in relation to its rise on early-aughties American daytime television and its subsequent rise across various media sources and literary review websites, along with an indicative listicle from a clickbait-heavy site – surely a bullseye example to contemporary eyes, inundated consciously and not with the mechanics of ad tech, whose role here is not inconsiderable. Mead notes the concept has roots in Freud’s mechanism of identification – that is, cultivation of self through imitation and idealization of a parental and/or authority figures. (“Children are inclined to behave like the significant adult models in their environment, Freud postulated. These identifications give identity and individuality to the maturing child,” as Britannica helpfully notes.) The challenge to cultural expression, as Mead rightly identifies, is that the demand for relatability becomes conflated with expectation, that “the work itself be somehow accommodating to, or reflective of, the experience of the reader or viewer.” This has immense implications for opera, with its widely-regarded, unconsciously-held expectations of ecstasy, ones which are all the more subsumed within a culture which grapples with outmoded perceptions and clichés around elitism. Why shouldn’t one want to see one’s self, precisely, live before them, especially when one enters the auditorium having paid good money, made the effort to dress up, obtained the now-required documentation for entry? Mead continues:

The reader or viewer remains passive in the face of the book or movie or play: she expects the work to be done for her. If the concept of identification suggested that an individual experiences a work as a mirror in which he might recognize himself, the notion of relatability implies that the work in question serves like a selfie: a flattering confirmation of an individual’s solipsism.

To appreciate “King Lear”—or even “The Catcher in the Rye” or “The Fault in Our Stars”—only to the extent that the work functions as one’s mirror would make for a hopelessly reductive experience. But to reject any work because we feel that it does not reflect us in a shape that we can easily recognize—because it does not exempt us from the active exercise of imagination or the effortful summoning of empathy—is our own failure. It’s a failure that has been dispiritingly sanctioned by the rise of “relatable.”

The demand on directors, and by association, singers, to be relatable, to have familiar elements of daily life and the 21st century living of it, grows more and more present. “Reimagined” is the buzzword of the Covid era, with presentations of many works overhauled, rebranded, and largely decontextualized for consumption by a supposedly hungry online audience; offering up new/old works with the intention to relay some form of the relatable (be it in gender, gender fluidity, race, sexuality, social strata) before the truly theatrical, is less a fad than a lived reality in many corners of the cultural landscape. The hearty use of digital technologies, while initially heartening 21 months ago, more than often this year points to confusion between the accessible and the relatable; the assumption that we’re all on our computers because of pandemic isn’t wrong but it’s lazy, and takes the onus off the human urge toward imagination, and the exercise of it. We want to imagine ourselves fully dressed, out and about, in pre-corona land, but that’s not going to happen, and so, we’re presented with endless forms of what is perceived by marketing departments to be entirely relatable, and we, of course, are meant to applaud.

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Inside the Teatro Regio di Parma. Photo: mine. Please do not reproduce without express written permission.

Some figures, like Faust, are already familiar, or should be, by the sheer dint of previous literary/socio-cultural history. Don’t we all make a deal with the devil, whether it’s posting open-moistly-mouthed photos in order to get the notice of powerful casting agents, going maskless backstage, posting over-edited (in modern parlance, “curated”) performance snippets on Tik Tok, or even (especially) getting on an airplane at Xmas/New Year’s amidst pandemic? Ah, but that magic word “choice” is a captivating sirin in modern life, eyes glinting with perceived power and colored talons wrapped around an invisible pen, waving the papers for an imaginary divorce from hard, real circumstance – that messy, multi-layered stuff which makes us. It’s pleasant and convenient, (some will righteously label it “immense”, a handy form of ego-combing empowerment), to feel that everything in life is entirely within one’s control, that everything boils down to the woo of personal responsibility and individual energetic direction. I can choose to be agreeable about this exploitative situation; I can be h-o-t as defined by the narrow parameters I myself entrench; I choose to see myself in Carmen; I choose to see Sarastro as a closet sub in search of a dom. I can choose, lalala! If we do not see our very selves precisely presented on the stage, so the thinking goes, then where? Should we (can we) “choose” otherwise? Shall our complicated and messy 21st century world not be part of (nay, constitute the entirety of) theatrical presentation now, in the midst of pandemic? Is it not awfully elitist to ignore such realities given such a forum? Can we choose something else – really? In an industry so bifurcated by geography, funding models, educational models, and quotidian culture, the concept of “relatable” as connected to stagings differs widely, and takes on various forms, some of which are shared, many of which are not. One can choose to applaud or be angry, but one must always be loud in 2021, and probably 2022 also; awareness, contemplation, nuance, quiet – time-consuming, seemingly effortful, unfashionable. The recent hand-wringing in Berlin over The Nutcracker (given intelligent dissection recently in Süddeutsche Zeitung) makes clear the onerous challenges of a lacking historical awareness, the disinterest in engaging with its sharper corners, and the unsexy nature of nuance, a quality which works against the acrid reactivity which makes the machinery of ad tech turn so merrily, which has hoisted the cult of the relatable to godlike status. Everyone takes sides; everyone is supposed to. We signed the papers, after all.

This is not to dismiss diverse representation, a powerful and wholly overdue thing. Such representation offers an encouragement to young artists (read: non-white, non-straight, non-gendered, non-moneyed) who might otherwise not see themselves, literally, figuratively, or otherwise, as having any role or value in the industry, or indeed, elsewhere in the wider world. I have imagined myself, at various points, a mother, a partner, a socialite, a popular and promiscuous girl; I have imagined myself tall and elegant and reed-thin; I have imagined myself tiny-breasted and long-legged and saucer-eyed; I have imagined myself part of a wide and active social group, with a large and rambling line of loud, boisterous relatives; I have imagined myself a successful writer and artist, living in various places, each with its own beautiful view. Don’t dream it, be it; there’s that invisible pen at work again. I don’t have to imagine myself as a lawyer, a doctor, teacher, accountant, engineer; I’ve never been interested enough in those things to exercise such energies, and I know I have the advantage of class, colour, and nationality to take seeing myself in them entirely for granted; others do not. There is no leap of imagination required for seeing and experiencing people like me in those roles. For those who don’t look and sound like me, that leap is required, constantly, outside the theatre just as often as inside of it. That the best and most effective solution might be at the elementary education level is what many nod at with seriousness and understanding, but is the very thing few seem willing to actually do. It isn’t sexy, tangling with education departments and ministries who aren’t interested in you or your world, and such long-haul commitments are made more difficult (and difficult to justify) amidst the economic ruin of pandemic, to wave arms and shout until hoarse, Spend more on school instruments! Stop cutting music classes in your budgets! The issue isn’t as simple as online arm-waves anyway, but oh, the work involved, the sheer level of energy (to petition, to raise awareness, to do the continual footwork, to educate and re-educate one’s self and others) – fighting against decades of lacklustre government policy is not a job for the weak of heart, it bears no public plaudits or shares or retweets, and more often than not of late, no real fruit either. Such work is not favoured by algorithms, ergo, such work does not, within the digital sphere of the 21st century, exist; most arts educators already know this.

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Detail, The Age of Bronze (L’Age d’airain), Auguste Rodin, bronze; 1906. Photo: mine. Please do not reproduce without express written permission.

One thinks back to innumerable noisy recorder lessons in small, windowless rooms, sitting on scratchy orange carpet, one’s fingers moving along the narrow round body, the tips growing moist from all that joyful, effortful breathing producing squeaky versions of “Twinkle, Twinkle, Little Star” and the recognizable theme from Dvořák’s New World Symphony. I could play both, in far fancier (if still simplified) versions on the piano, but then, I came from an odd household, privileged in the sense that culture, including classical music, was an integrated part of quotidian life. I didn’t relate to most of elementary (or high) school, but for the music and cultural/literary elements. For those who keep and cultivate these things, for those whom music is in fact a central facet of daily life, it becomes all too easy to forget about those outside the bubble of such privilege – and it is that, something we inside of it often conveniently forget. Being an educator at post-secondary institutions these last seven years has served to underline, in some rather bold and striking ways, the parameters of such a bubble, and all the concomitant implications of such a world view. Most of my students through the years have never heard of Peter And The Wolf, let alone Prokofiev; many of them think of opera only as a formal if dull event adhering to the #fancy clichés pushed by the very organizations who wish to court them, and those online only too happy to entrench such cliches for the sake of some high-school-competition win. The music-minded note the growing gaps in arts education, sigh heavily, write tweets with predictable words  (ie Philistines, barbarism) and carry on listening to the latest BBC3 podcast on the work of a composer many (most?) of the students silently nodded at (but never seen) in such exchanges have never heard of, or probably experience live. Them vs. us; us vs. them; make the arts great (again), or something; RT this; pageviews that. Ad (tech) infinitum.

The polarities encouraged by the mechanics of the internet, and which characterise much online discourse now, have had an obvious and unmissable effect on the discourse around opera. Burn it all down on one side; I want camels in Aida dammit! on the other. Cliques exist, foment, gather choristers accordingly. Polarity, as history has shown, is profitable for the few and bad for the many, and any step outside the boundaries cause for ostracising (or worse yet, in the digital realm, being – gasp – ignored), but such a vast and inflamed auditorium has given rise to a frustrating conflation between relatability and revisionism, with no sense of the influence or role of funding according to geography. When marketing has to somehow make up for a lack of proper funding, well, what then? Somehow the appeals to “relatable” art (and antecedent calls for more diverse representation within it) become louder, with nary a contemplation given to the nuanced ecosystems of creation, imagination, context, history, and plain, messy, debt-ridden, ill, heartbroken people. Everything begins, and ends, with money, and as with educational reform, arts funding is an area rife with predictable name-calling (the poor old Philistines) and salty intransigence. People want to see people like them presented onstage, with all their preferences and problems and concerns, and those with deep pockets will pay for that – but only that. As Mead wrote, “In creating a new word and embracing its self-involved implications, we have circumscribed our own critical capacities.” Such capacities, like nuance, do not translate through the narcissistic lens of the digital realm, and, in the mid-pandemic landscape of opera, are largely not welcome.

Parma, Italy, Teatro Farnese, opera, production, Graham Vick, music, culture, history

Graham Vick’s interactive production of Stiffelio at Teatro Farnese, Parma, 2017. Photo: mine. Please do not reproduce without express written permission.

Thus the desire (demand) to see ourselves presented, just so, on a stage continues  – but so too, I hope, does the desire to see something that demands a leap of faith, and imagination, not unlike church (but with better costumes, unless you are Orthodox). Some of my favorite contemporary directors (Graham Vick, Barrie Kosky, Andrea Breth, Kirill Serebrennikov, Claus Guth, Calixto Bieito, Katharina Thalbach, and Dmitri Tcherniakov among them) take the leap of faith and imagination so integral to theatre, and to the presentation of opera, now more than ever; words bandied about with disdain (modernized, Eurotrash, and my favorite, unrelatable) discount the vital roles of each, and further entrench the polarities which have proven so damaging, and so very profitable. Representation becomes less about literalism and more concerned with staring us opera fans in the face in challenging our culpability for its longtime lack. My favourite operatic presentations tend to ask something I’m not always prepared to give; sometimes there is discomfort, confusion, anger… and hours, weeks, sometimes months later, I am glad for the experience, and grateful. It is with no small awareness that I attend opera not wanting to see me on the stage; I have the luxury of taking for granted the musicians, performers, director, designers, and much of the audience, already does. In no way does such awareness diminish the power of individual imagination within the parameters of creative presentation in that particular auditorium, on that particular day, at that particular hour, in that particular locale, with my own particular knowledge of director / work / singers / conductor / orchestra / house / personnel / history. I attend theatre, and opera, wanting to see another’s life and experiences, wanting another’s thoughts and emotions, hungry for another’s ideas and observations, all of which are conveyed through the lens of just such a chosen group, and thusly judge, evaluate, contemplate, and imagine for myself, whether or not the parts fit, how, and why, or why not. Knowing the history inherent to stage works, like The Nutcracker is vital; I cannot possibly relate to the Sugar Plum Fairy or Drosselmeyer, but I can at least understand, or gain some sense, of the context in which it was created and presented, and engage in an exercise of imagination with relation to Tchaikovsky (and Dumas, and Hoffmann too), to the first (and subsequent) audiences of the work, to evolving senses of lives and world views. Imagination is not the same thing as empathy, and shouldn’t be confused as such; such an conflation is analogous to that of representation and revisionism, and says more about our world now, with its digital cliques and keyboard warriors, its comfortable bubbles and reductive phrases (ie “cancel culture”) borne of the polarities encouraged by algorithms. Anything “guaranteed to offend” yields as many yawns as something “guaranteed to wow”; hype is the ever-bleeding wound collected by the Holy Grail of clicks, one best to exercise conscientious choice in ignoring. Sometimes, that invisible pen comes in rather handy.

The basic elements around which narratives turn are familiar tropes to all, no matter the background or exposure, the education or the privilege, or lack thereof. This past autumn I played my media students Peter And The Wolf (none of them – 61 in all – had ever heard of the work) to encourage a creative cultivation in their perceptions of the building blocks of narrative. For all the bewildered looks I courted at the time (bewildered eyes, that is, times being what they are) the quality of writing thereafter noticeably improved. Whether this is down to Prokofiev, Karloff, my mad live note-taking, or some combination therein, I cannot say, but a thought was reinforced: introduction, enthusiasm, and contextualization matter, and they affect how one thinks of and approaches those other, popular building blocks. None of them could relate to the specific elements; nearly all of them could relate to the work’s themes of growing up and moving away from childhood through frightening, direct experience with a clear and present danger. Romance, with its inherent silliness often presented as Actual Real Love across large swaths of culture, is a common theme carrying its own unique roads to imagination and winding paths to memory; more often than not the two combine in such an element, and produce frequent misunderstandings, if simultaneously checking the box of expected ecstasy. Sentimental swoons at the close of La bohème ignore the basics: there is fighting; there is suffering; there is terrible poverty. There is death, remorse, inevitably harsh growing up. Do we really need  some romanticized version of poverty, loss, death? To use the common parlance, fuck that noise. Fighting with the person you love isn’t romantic; it’s awful. Watching the person you love die isn’t pastel-adorned, beautied sentimentality; it’s cold, steely, horrific. There’s no call for a director to make things “relatable” – such a quality already exists within the work itself, as much as its characters. Romanticized clichés – the ones sometimes expected and often friendly to donors (who wish nothing more than to have at the theatre, a manageable, tidy vision of the world that reflects their own desires and/or worldview) – have a tendency to diminish, not enhance, boxing in that which shouldn’t be (really can’t be) tidily wrapped. The work itself is so painfully real in places, the characters themselves could be depicted on the moon (in fact, they were, in Claus Guth’s staging at Opéra de Paris a few seasons ago) – Puccini’s music, his vocal writing, his orchestration, reveals something deeper, more real, more human. Some things are relatable, and some things are not; where there are elements missing, imagination is charged, and re-charged, with every note, every pause, every breath.

This holds true as much for Mimi and Rodolfo as it does for Tosca, for Don Giovanni, for the Marshalline, for Boris Godounov, the fox, the knight, Carmen, and Lulu too. There are smidges of the sacred, the profane, the hellish, the divine, the undeniably human, conveyed not only with words (of course not), but through music, that thing so often (too often) bizarrely, somehow, forgotten in the Race To Relatability. Motifs, orchestration, phrasing, pauses, individual performance choices as much as scored ones, melodies, harmonies, tones (semitones, quarter tones): these choices, made by creators, together with their backgrounds, the worlds from which they sprung, the people who paid them and the people who booed – all are worth examining, staring in the face, knowing, learning, with or without any sense of familiarity, but with nuance, consideration, curiosity. There is no such thing as attending a cultural event with a blank inner slate; there is, however, a role for curiosity, and intimately related to that, a role for imagination, and they are things capable of, and for, everyone. Live creative expression carries the weight of whatever context is brought by artists who might allow for such trust to be built within a space dedicated to imagination and the conscious and delicious exercise of it. Here the invisible pen vanishes, there is no fairytale, nothing is relatable, and everything is understood, or not; here there is only sound, silence, sighs, and one hopes, magic.

Auguste Rodin, sculpture, bronze, art, culture, history

Essay: Music Amidst Pandemic – New Doors, New Windows, Same View?

Since mid-March, I’ve been engaging in drawing and painting more frequently. It is a passion I first found immediately following a trip to the Algarve almost two decades ago. After years of engagement in photography, dance, and acting, visual art seemed like a natural next step. A sharp contrast to my then-job in advertising (the social aspects of which were fun but equally draining), a weekly art class, held in the basement of a local artist and teacher, was a solace of quiet, self-directed time, a solitary creative activity at once technical, instinctual, emotional, and sensual. I loved the smell of paints, the feel of charcoal on fingertips, the way red smudged into green. Art became an extension, rather than an escape, and it’s one I’ve found myself driven to over the past few uncertain and lonely months of pandemic lockdown. The quarantine necessitated by coronavirus restrictions has allowed for both contemplations of the present and future, as well as regular wanderings through old memories and experiences, sometimes good, sometimes bad, sometimes winding up in waves and lines across sheets of foolscap and virginal white canvasses.

Looking through a stuffed old steamer trunk of old paintings, I remember the ochre sand, the cerulean blue sky, the jade-like palm fronds, the steely grey of clouds, of the intermingling textures of mottled-smooth-rough sculpture of every crevice and darkened corner. I recalled smells (of salty sea and wet sand on skin), tastes (I brought spice packets and various savoury pastes home with me), the cool-warm granular feel of the rocks, the grains of sand like razor-blades underneath, around, and against fingernails and feet and face; all of this I tried to translate with paints, pencil, points and brushes. I even tried to capture my conviction at the time that one of the red-shorted lifeguards at the local beach was a merman; he had vanished beneath the waves one day for well over fifteen minutes, gracefully materializing out of the waves unexpectedly and glinting a sleek silver against a mid-September overcast sky. My amateur efforts were sometimes successful, sometimes not; it was a feeling I aimed to capture, of oneness with a moment outside of time, reason, reaction, comforting identities and familiar faces and places. My instructor, a professional artist and professor at a major Canadian art school, would actively discourage the use of erasers in sketching. “Be open to any and everything,” she would say, in soothing caramel tones, “Whatever you think is a mistake might not be.” It was surprisingly easy for me not to use an eraser, surprising considering I was a lifelong perfectionist. might instead be approached as an opportunity for a new and unexplored path, and so, off I went on many, many paths, losing, finding, forming, shaping, and re-shaping, again and again, each time anew, awake, alive… or, that’s how I frequently want(ed) things to be. They sometimes weren’t, and aren’t, and that’s probably important to remember, especially now.

The current overtures toward reconfiguring presentation within the context of classical music are being greeted with a mix of sighs, scowls, boos, cheers, but largely (I would suspect) held breath. Navigating change is not, depending on one’s familial, cultural, and social baggage, always easy; in a forced situation it seems even more difficult and onerous. it might be done on tentative tiptoes, or it might be approached with an open-armed embrace. What with the figurative windows and doors being replaced, there’s concern if and how the view might be affected – and if that’s a good thing, a bad thing, an overdue thing, a thing that can lead to what may or may not be some overdue transformation within an industry some (particularly in North America) perceive as being adverse to innovation, one which would embrace experimentation and all the possibility (and diversity) within that framework. The openness to new horizons, even (or especially) ones that don’t seem good or viable (or comfortable or familiar), are notions being actively discussed and tried, especially in light of the recent reduced musical and theatrical presentations at Hessisches Staatstheater Wiesbaden, running through early June. Some are appalled at the safety restrictions in place; others say it’s a hopeful sign. Classical fans (at least some) perceive the safety measures as a small (and hopefully temporary) price to pay for the opportunity to experience live performance again. Being taken entirely out of self and place and time, whether at the easel, the concert hall, or the opera house, is not a reliable or predictable thing, and indeed, it does not happen with every single drawing, or every single performance.

Still, there’s the possibility, and it’s the opportunity for this possibility that I suspect is so missed. Our collective cultural saudade (for what else should we call it?) relates directly to the concept of community, quite possibly the most important form of beauty we have right now, and perhaps also our hardest loss. What was ‘normal’ may not, as I wrote recently, be coming back any time soon, and as such, we can’t experience the breaths, the sighs, the miniscule “mm”s and slight (or not) head cocks, the irritation of audible humming and tapping feet and seat-conductors, the resonance of instruments and voices vibrating through thighs and hips and sternum, into temples and through ear lobes. Pressing one’s head against speakers does not produce the same feeling of transcendence, one intimately tied to community. Communal transcendence within a confined space and time is not an every day experience . It is, in the 21st century, one of the few highly experiential and directly visceral things we desire actively and will pay for. Writer Charles Eisenstein wisely writes in a lengthy and very thought-provoking essay:

Our response to it sets a course for the future. Public life, communal life, the life of shared physicality has been dwindling over several generations. Instead of shopping at stores, we get things delivered to our homes. Instead of packs of kids playing outside, we have play dates and digital adventures. Instead of the public square, we have the online forum. Do we want to continue to insulate ourselves still further from each other and the world?

[…]

To reduce the risk of another pandemic, shall we choose to live in a society without hugs, handshakes, and high-fives, forever more? Shall we choose to live in a society where we no longer gather en masse? Shall the concert, the sports competition, and the festival be a thing of the past? Shall children no longer play with other children? Shall all human contact be mediated by computers and masks? No more dance classes, no more karate classes, no more conferences, no more churches? Is death reduction to be the standard by which to measure progress? Does human advancement mean separation? Is this the future?

Advancement versus preservation; this seems like such a strange idea, and yet it has become, like masks in public, part of the new definition of normal. Perhaps the two ideas are synonymous? That advancement as a species means the preservation and protection of others, especially its most disadvantaged? Perhaps, amidst the lessons corona might be able to teach us (as Eisenstein posits), a more active idea of community might not only be understood but literally, loudly lived. Experience of community within a live setting implies agreement of chosen presence within a predetermined space, for a predetermined period of time with other breathing beings with their own notions and ideas (and hopefully sense of openness as well) hearing and seeing what you are, but as themselves, with their own ears and eyes. I go to live events as much to experience this unique interconnected energy as I do for the music and staging; hell is other people, so goes the saying, but it feels equally true that hell is also being without other people, without having the opportunity for that community, not by choice, but by force. To be robbed of that, when one has not partaken of the social ritual of family, is indeed a cruel and unusual punishment – never mind the masks.

despair, sculpture, art, Perraud, history, desepoir, French, face, man, physique

Le Désespoir, Jean-Joseph Perraud, 1869, Paris; Musée d’Orsay. Photo: mine. Please do not reproduce without express written permission.

For those of us who are quarantined on our own, community and time acquire new meanings and varied applications. In an excerpt from his book On Nostalgia (Coach House Books, 2020), David Berry writes that “Nostalgia can only be lived in or abandoned: it is yearning distilled to its essence, yearning not really for its own sake but because there is nothing else to be done. Maybe it resisted definition for so long because naming it doesn’t help resolve anything anyway.” Thoughts of the past, of Portugal, of more recent trips and journeys, inspire an assortment of images, bold and pastel, hazy and in sharp focus. Amidst drawing, reading, teaching, there has also occurred the right kind of mental space for a re-exploration of Susan Sontag’s landmark 1977 collection of essays On Photography (Picador, 2001). The writer’s words ring particularly true in light of the many video items on offer throughout the pandemic era:

Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are. Those occasions when the taking of photographs is relatively undiscriminating, promiscuous, or self-effacing do not lessen the didacticism of the whole enterprise. This very passivity — and ubiquity — of the photographic record is photography’s “message,” its aggression.

Such broadcasts are effective at giving a sense, however ephemeral, of memory of how, and what we remember of which performances, and why. How did X orchestra handled that particular passage, of who’s looking at the conductor and how often (and when, and sometimes perhaps why), of unconscious (and sometimes not visible to the assembled audience) forms of body language which may indicate sound and fury, or indeed, nothing at all. The Metropolitan Opera’s Live In HD series, originally intended for cinema transmission alone, has taken on a second life online, a life many of us feel should’ve been there all along as an actual first iteration in the way Wiener Staatsoper, Moscow Conservatory, and the many offerings via Arte and Mezzo have done, and continue to do. Does the disposition to digital erase the supposed “grandiosity” of the operatic experience? I suppose it depends on how (and if) one perceives the experience of opera-going as such in the first place. There is an understandable element of nostalgia at play for certain audiences who attend live performances, a nostalgia that leaks into filming and demands pure (so-called) documentation, rather than creative interpretation.

Playing on such nostalgia is useful for marketing (especially right now), but tries (in vain) to supercede the reality of theatre as living, breathing art form, giving obvious weight to those who say a creative experience can’t be replicated online. Hopefully governments in North America will sit up and take notice, and stop handing out grants based on digital appeal alone; never has the understanding of art as a necessary part of every day been more divided than in the pandemic era, with its patchwork of funding models and ensemble support. Perhaps now is the time, more than ever, for North American artists to stand, sing, act, move, dance in the streets, more boldly than ever, not to play on a collective saudade but to blaze, fiercely, in the windows of all, providing a new and better view.

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