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Post by Havanah on Jun 6, 2011 10:45:00 GMT
She's not in the scene at Mayerling though... not unless one of the real angels has sat out. Havanah's sad enough to have counted.
I did find her in the curtain call by the way.
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Post by Havanah on Feb 27, 2012 8:39:59 GMT
Someone sent me a message asking if there was symbolism in the blanket that Death puts over his legs in 'Shadows'. Seems possible because it's such a dramatic act (and likely because it's Vienna) but I can't think of any. Just wondering what you thought?
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Post by rachel on Feb 27, 2012 17:21:23 GMT
Some people say its meant to be a shroud.
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Post by Havanah on Feb 27, 2012 19:19:55 GMT
Knew there had to be something hehe!
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Post by Havanah on Jul 16, 2012 14:18:16 GMT
It's not so much symbolism but how the musical was written/why etc. Quite interesting ^^
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Post by Havanah on Jan 7, 2013 21:28:05 GMT
Just read odorunara.com/2012/08/02/everyone-has-danced-with-death-but-no-one-like-elisabeth/ which is someone's review of Máté in the Japanese Elisabeth. It's a really well written thing about the production (which pictures) but with some really fantastic analysis of the show generally. The last paragraph caught me particularly: Elisabeth is, at its core, a story about a woman’s battle with her inner demons and mental illness. I think many fans can empathize with some of the other key themes of the show: feeling trapped by one’s family obligations, an unhappy relationship with a spouse or child, in-laws from hell, the death of a child, and, foremost, a longing “to be free.” We have seen plenty of media coverage of female royals like Diane and Masako whose desire for freedom strained their relationships with the royal family. Yet, by making her obsession with Death more tangible by making him in the form of a seductive and attractive man (or androgyne), Michael Kunze seems to have wanted to drag us into Elisabeth’s mental state.4 For everyone who has felt seduced by der Tod’s character or said, “How could she not kiss him in the office scene? I would have!”, we should take it a step further and think of the implications in this desire, one which may bring us a little bit closer to understanding her character and to her depression. Yet in the end, Elisabeth finds freedom, however imperfect, through living, through action. Der Tod is fascinated by this will, even if she denies him. To quote Chiyoko in Kon Satoshi’s film Millennium Actress: “The part I really loved was chasing him.” But when Elisabeth dances, as she sings, she’ll be the one to choose.
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