On Apr 8, 2:28=A0am, remysun2...@[EMAIL PROTECTED]
wrote:
> The film surprised me by showing a solemnly respectful interpretation
> of Japanese culture on the part of Gilbert and Sullivan. I had always
> assumed it to be more cariacturististic. Is this something we've done
> to G&S in general or should I change my worldview?
One of the challenges of the G&S operettas is that, as satires often
do, they were written with a wink toward G&S's own contem****ary world.
"Patience" takes its cues from the Britsh aesthetic movement, and if
you don't know what that was, you might have a hard time understanding
what's going on - which can make it somewhat confusing (and not quite
as funny) for a modern, American audience. Similarly, "The Mikado" was
in part a nod to the British obsession with all things Japanese.
(Remember that Japan had just opened their ****ts to trade with other
countries; see "Pacific Overtures" lol). But since we don't have the
"novelty" of Japanese culture as a reference point, the piece loses
its direct connection to the times, and though it still works as a
political satire, the *reason* for its Japanese setting loses
im****tance. So of course it can turn into what seems like a parody of
Japanese culture, instead of a parody of the new-found British love
for Japanese culture (and, as always in G&S, a satire on British
politics.)
By the way - I did a wonderful production of "Patience" some years ago
where the director, a true G&S expert (and wonderful patter baritone
as well), tried to solve the "aesthetic issue" problem for the cast,
at least, by dwelling (rightfully) on the *action* of the piece
instead of the satire itself. I'll never forget when he said at the
first rehearsal (and I paraphrase), "This piece is the story of what
happens when the Dragoons come back to claim their brides." By
focusing on the ensuing love-related mishaps, and just letting the
"poetical" part of the story play itself, the show seemed just that
more readily accessible.
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