#Marat Royalty

[couyon-boogie]

Here we have King Lyon and his siren consort Rashelle. Their son Da'av and a bouncing baby Kazzy.

Things look to be going far too well.

[napoleonic-sexyman-tournament]

Friends, enemies, comrades, Jacobins, Monarchist, Bonapartists, gather round. We have an important announcement:

The continent is beset with war. A tenacious general from Corsica has ignited conflict from Madrid to Moscow and made ancient dynasties tremble. Depending on your particular political leanings, this is either the triumph of a great man out of the chaos of The Terror, a betrayal of the values of the French Revolution, or the rule of the greatest upstart tyrant since Caesar.

But, our grand tournament is here to ask the most important question: Now that the flower of European nobility is arrayed on the battlefield in the sexiest uniforms that European history has yet produced (or indeed, may ever produce), who is the most fuckable?

In the spirit of democracy, we are asking you to nominate your personal favorites to be included in this contest:

Some house rules to consider:

While the individual does not have to be directly involved in the wars, they must have been alive during the wars. So, no one who died by guillotine before the Napoleonic period started (no matter how sexy stabbing Marat was.)

Their attractiveness will also be judged based on the age that they were during the Napoleonic period (a certain short lived King of Rome who has been making the rounds in the royalty brackets is ineligible on account of being a baby during his father's wars.)

For the nominations, you can consider sexyman to be a gender neutral terms. However, if there are enough people submitted, the admins may elect for two brackets instead of one.

Fictional characters are allowed, but with the caveat that the fiction they are from must directly deal with the wars and not just be set during the same period. In short: Pride and Prejudice no, War and Peace yes. We are sure "most fuckable Regency era literary figure" could be a bracket on its own (and if it has not been made yet, why not?)

Keep in mind that this tournament will be judging attractiveness, not politics.

Propaganda is not required in your submissions. But, submitting any propaganda will improve your favorite's chances.

You can submit as many people as you want. The form does not have a limit.

Your submissions are greatly appreciated as we embark on this sexyman journey together.

[usergreenpixel]

Well, I could dedicate an entire review category to SP knockoffs alone 😂. Most older media LOVES to have sympathetic royalty and aristocrats as narrative opposites to the inevitably dirty and radical revolutionaries.

We also often have:

Moderate Girondins vs Radical Jacobins

Crazy bloodthirsty Marat

Robespierre starting out good and then becoming a tyrant as the story continues

Thermidor is somehow a good heroic coup

Directory sometimes is omitted and we skip to Napoleon

Many OCs somehow meet all the important revolutionaries when it doesn’t really make sense

Etc.

I’m curious– what are some common tropes that you’ve seen in fiction books set in the French Revolution? Particularly a few specific ones I’m wondering about being:

At least one protagonist being a “sympathetic” aristocrat

How rare are (if they are actually rare) protagonists and/or side characters having political views falling left of Danton’s being depicted positively

Someone having to be “saved from the guillotine” in the style of The Scarlet Pimpernel

The only setting being Paris

Characters meeting and/or confronting real historical figures

[saint-jussy]

The French Revolution Calendar Project!

Hello again, Frev community! A few days ago I entertained the idea of doing a calendar featuring Frev figures representing the months of the Republican Calendar. I have now decided to work on this project in earnest and dedicate it in memory of Dave (@marat), with all proceeds going to the Trevor Project. This is the list I’ve decided on -

Vendemiaire: Louis XVI & Marie-Antoinette getting arrested

Brumaire: Napoleon emerging menacingly out of fog

Frimaire: Lafayette being cringe

Nivose: Claire Lacombe & Pauline Leon repping working class women

Pluviose: Marat furiously writing in his bathtub during a thunderstorm

Ventose: Jacques-Louis David painting propaganda

Germinal: Camille on a café table inciting the storming of the bastille

Floreal: FABRE because D'EGLANTINE

Prairial: Danton acting like a shepherd (of the people)

Messidor: Saint-Just with a wheat crown and wheat wings

Thermidor: Robespierre sitting under an orange tree with Brount

Fructidor: Couthon

You might’ve noticed that the assignments are slightly different than the list I originally posted. This is because I thought it’d be neat to have each trio grouped by theme. So like the autumn months are royalty/aristocracy, winter months are revolutionary “communicators,” spring months are the Cordeliers, and summer months are the hardcore Jacobins.

The italicized months are ones I already have artists for and the non-italicized ones still need an artist assigned. Please let me know if you’d be interested in participating in this project! I’d love to have more folks from the Frev community here on board. You’d have to know how to draw stuff for print though, and ideally you have a painterly style. I have a budget of $500 max for each piece, with dimensions of 4x6in so they can double as prints.

If you want to contribute small miscellaneous art like chibis or something though, I can probably also fit them in the calendar! There’ll be a lot of white space to work with.

[fanfeline]

I had to watch a documentary by and about wealthy youth - the teens and young adults born into absurd amounts of wealth (think children of royalty, media moguls, real estate moguls etc.)

lots of interviews about their positions, how they viewed themselves in comparison to others, what they thought about their money, their views on morality etc.

in completely unrelated news I am feeling very sympathetic towards Marat right now

[centrifuge-politics]

Brick Club 3.3.3

Above, the aggrieved ultra-royalists of Madame de T’s salon. I was hesitant in 3.3.2 to lump together the hatred of revolutionary republicans and the hatred of Bonapartists, but this chapter tells me it would’ve been accurate to do so with even more emphasis. “By the dint of cursing Marat, they came to applaud Trestaillon.” Trestaillon was a man named Jacques Dupont who went on a pretty indiscriminate anti-royalist murdering spree with a couple of friends in Gard during the Second White Terror, which is what Hugo is referring to here. Here’s a lovely portrait of him:

“Do not spare anyone. Trestaillon orders it!!!”

If the republicans are beheaded us, so we can behead them right back! Go ahead and throw the filthy Bonapartists up there too! This was the premise of the Second White Terror, aimed at dismissing, exiling, and executing any republicans or anti-royalists, similar to how the First White Terror targeted associates of Robespierre and Marat. There’s a lengthy debate that could be had on the value and efficacy of violent turnabout but, honestly, the revolutionaries were beheading themselves as much as the nobility by the time of White Terror 2.0.

Oh, I like this: “It was a mummy world. The masters were embalmed, the valets were stuffed.” There is something eternally appealing about this salon, where the discussion only slightly changes, but never reorients itself with the time, especially considering the absolute chaos of changing government systems outside the door. As long as you are ultra, you have the comfort of craving an unreal ideal state of society that will never come, no matter whether you live in a republic, an empire, a constitutional monarchy. It will never be enough for these people! "It is to reproach the idol with a lack of idolatry...it is to find in the pope too little papistry, in the king too little royalty...it is to be so very pro, that you are con.” It’s the ability to be comfortable in your dissatisfaction, subconsciously knowing you can’t ever be satisfied. No matter what changes, your complaint can be the exact same.

(To clarify, I don’t consider this equivalent to the desire to reach a state of true social equality, in the same way I wouldn’t compare the ideal state of an anti-fascist to the ideal state of a fascist. The ultra-royalists look to an idealized version of the past: “They ridiculed the century, which dispensed with comprehending it.” The comparison to a mummy is excruciatingly apt in illustrating this difference. The mummy cannot become a human again, but a child can learn and grow.)

In conclusion, “‘Why not desire our whole history? Why not love all of France?’” the doctrinaires ask, the moderate Republicans to the ultra-royalists’ alt-right. Because, Hugo says, “We may smile at it, but we can neither despise it nor hate it. It was the France of former times.”

[max-de-robespierre]

The Sans-Culotte’s Alphabet, or The First Elements of Republican Education (Alphabet des Sans-Culottes, ou premiers elements de l'education républicain)

More than 170 years before the Chinese Great Proletarian Cultural Revolution, in the Year Two of the French Republic, the revolutionaries of France also carried out a cultural revolution. Cities and neighborhoods were re-named to rid them of associations with the old world and its royalty; a new breed of civic hero was put forth as an example, one who lived and died for the people; the people were given voice in their clubs; and most significantly, a new, calendar, both more rational and more poetic was instituted, with time beginning in the Year One, 1791, when the Republic was proclaimed. The lower classes were the most unalloyed representatives of this new order, and revolutionary purity resided in them, the sans-culottes. Texts like this anonymous one existed to spread the ideas that motivated the revolutionary left.

Q: What are the most glorious dates of our Revolution? A: July 14, 1789, August 10, 1792, and May 31, June 1 and June 2, 1793. Q: What remarkable event occurred on July 14, 1789? A: The taking of the Bastille by the people of Paris. Q: Where was the Bastille? A: In Paris. Q: What was the Bastille? A: A horrible prison, where the tyrant buried alive those who dared raise their voices against the tyranny. Q: What happened on August 10, 1792? A: The attack on the tyrant’s palace by the brave sans-culottes of the suburbs, assisted by all their brothers of the departments, and their victory. Q: What did this victory produce? A: The fall of the tyranny, and freedom. Q: What is a brave sans-culotte? A: It’s a man whose soul can’t be broken by the gold of despots. Q: What are the virtues of a sans-culotte? A: All of them. Q: What remarkable events happened May 31, June 1 and June 2, 1793? A: They were memorable days that complemented the preceding ones by destroying the conspirators, their liberty-destroying plots, and ensured the unity and indivisibility of the Republic. Q: So these revolutionary days were necessary? A: Yes, for without them there would be no more liberty. Q: Is it necessary to prolong them? A: Yes, as long as tyranny lasts. Q: Who are the men who deserved well of the Fatherland? A: The men of July 14, 1789, those of August 10, 1792, and those of May 31, June 1 and June 2, 1793. Q: In what way did they deserve well of the Fatherland? A: By ensuring 25,000,000 people freedom and equality. Q: Where will this freedom reach? A: The ends of the earth. Q: Who is it that most contributed to propagating it? A: The citizens who make up the society of Jacobins. Q: Who were the first martyrs to freedom? A: Two representatives of the people. Q: Name them. A: Peletier and Marat, the Friend of the People. Q: Who assassinated them? A: Monsters animated by the royalists, priests and federalists. Q: What will national vengeance be? A: The death of all tyrants. Q: What was done with their bodies? A: They were deposed in the Pantheon. Q: What is the Pantheon? A: It’s a superb edifice destined to hold the ashes of those men who have deserved well of the Fatherland. Q: Was there another martyr for liberty? A: Yes. Q: Where? A: In Lyon, renamed Ville-Affranchie (Liberated City). Q: Name him. A: Charlier, president of the tribunal of the district of Lyon. Q: Who had him sacrificed? A: The counter-revolutionaries of that guilty commune. Q: Was he also given the honors of the Pantheon? A: Yes, for he died for liberty. Q: Who are those who will be called martyrs? A: Those who will die for liberty. Q: Name the ancients who loved liberty. A: Brutus, Mucius Scaevola, William Tell. Q: Who are the men who, through their writings, prepared the Revolution? A: Helvetius, Mably, J.J. Rousseau, Voltaire, Franklin. Q: What do you call these great men? A: Philosophers. Q: What does this word mean? A: Wise man, friend of humanity. Q: What do their works teach? A: That we must adore the Supreme Being, be subject to his laws, and love men. Q: What else do they teach? A: The practice of all virtues, and that we must sacrifice what is most dear to us to the interests of the Fatherland. Q: What is our battle standard? A: The tricolored flag. Q: What is our victory cry? A: Long Live the Republic! Long Live the Mountain!

Source: https://www.marxists.org/history/france/revolution/1792/alphabet.htm

[tutorsof]

An example of a post and lintel system is:A. A Greek temple B. A painting by Artemisia Genteleschi C. The sculpture of the Seated ScribePieter Breugel's, The Harvesters is unusual in what way?A. It is a representation of a scene from the French Revolution. B. It is made in the difficult technique of fresco. C. It is a genre called landscape and relates to the Protestant Reformation.The proper term for sculpture that is fully finished all around and free from a background is:A. Relief B. In the round C. IonicCan we apply standards of beauty in art from one culture to another?A. Yes B. No C. Only during Leap yearWhich of the following is an art object used for funerals?A. Bayeux Tapestry B. El Anatsui, Sasa C. The Greek KraterAssyrian power was often depicted in which art form?A. Relief sculpture B. Oil painting C. Life sized marble figuresWhich of the following aided the illiterate to learn their religion in the Middle Ages?A. County Fairs B. Stained glass C. Elementary school What does the term historic context mean?A. It is a term used for the understanding of objects within their time period, culture, and social conditions. B. It is a term used for the content found in academic paintings. C. It is a term used for the images found on Chinese and Japanese art scrolls.Baroque art in Italy did which of the following?A. Used Landscapes to convey religious messages B. Was exemplified by Michelangelo's Creation of Adam C. Used opulence and dramatic settings to bring the faithful back to the ChurchA set of orders is:A. The rules used for making an oil painting in Egypt B. The Greek system consisting of base, column, capital, and entablature C. A repository for Holy relicsManuscript is a term for which of the following?A. An early book made of animal skins and often illuminated B. An important relief carving depicting royalty C. The process for making bronze sculptureWhich of the following is true about academies?A. An academy is a school that trained male artists. B. Women artists could belong, but not take lessons. C. It is both of the above.Which of the following is particular to a Gothic building?A. Pointed arches, buttresses, stained glass B. Domes and rotundas C. Ionic, Doric, or Corinthian columnsThe word Renaissance means which of the following?A. It means the rebirth of the piety of the Middle Ages. B. It is the philosophy known as the Age of Enlightenment. C. It is the rebirth of Greek and Roman ideas and culture.Since humanism was a Renaissance focus, how might we see it represented in art?A. Works of art may contain references to the Industrial Revolution. B. Works of art may reflect the Philosophy of the Age of Enlightenment. C. Works of art may have a focus on rendering the figure as individualistic. The Death of Marat contains what references?A. Marat has been depicted as a Christian martyr. B. Marat is being associated with the French Revolution. C. It is both of the above.What change in art took place in Roman sculpture?A. The Romans invented equestrian sculptures. B. The Romans created Hellenistic sculpture. C. It is both of the above.The interior of San Vitale is decorated in which of the following?A. Large scale Greek marbles B. Intricate and glittering mosaics C. FrescoesThe plan of the Romanesque church of Sainte-Foy contains a new innovation. What is it for and what is it called?A. It is a flying buttress and it is to help stabilize the tall walls. B. It is an octagonal central plan and it is designed to represent the cycle of life. C. It is an ambulatory and it offers more space for pilgrims to view relics.Which of the following ideas can be attached to Botticelli's Birth of Venus? A. This is the first time we see an artist use his wife as a model. B. The painting represents Neo-Platonistic thought. C. The painting is a fresco based on work by Michelangelo.

http://myhomeworkmarket.blogspot.com/2020/08/mcq-social-sc.html

[brothermarc7theatre]

"The Revolutionists" show #759

“I mean, sometimes a revolution needs a woman’s touch.” This line, the thesis around which Lauren Gunderson has revolved her play, The Revolutionists, is all too close to today’s trying political climate. Whether it be 1793 rebellious France or 2018 volatile America, the themes Ms. Gunderson explores in her play strike many chords, regardless of race, ethnicity, or age. Town Hall Theatre Company has given this play a well-staged production, even amidst the weaknesses of the script, and is a champion comedy for women’s empowerment and powerful voice.

Director Susan E. Evans has helmed The Revolutionists with smooth staging that combats the script’s pacing issues. What works in Ms. Evans’ favor is her keen sense of when to give focus to the vital moments/lines in the play. Both acts have some very heartrending bits of dialogue, all of which are given due prominence. Unfortunately, not even the seasoned director and a very capable quartet of actresses can overcome the clunkily written preface that begins the play. Ms. Gunderson goes on for a few too many minutes of precious script in a valiant attempt to combine comedy with a meta-theatrical awareness. The “meta” aspect is understood much earlier than Ms. Gunderson expects, and becomes a device rather that hinders the choice of writing style. The lines begin to tell the audience that it is aware of itself being aware of itself, diluting the impact the script could have. The plot isn’t pushed, and the play is bookended with a rushed ending that doesn’t quite fasten a button on what the audience is supposed to feel. However, where Ms. Gunderson excels is in her structure of when certain revelations are made, and how the characters relate to one another, whether in monologue, all-call scenes, or two-person conversations. There’s enough modern speech mixed with historical references to be engaging and not overly convoluted.

(L to R: Sarah Mitchell (Olympe), Suzie Shepard (Marie-Antoinette), Kimberly Ridgeway (Marianne), Heather Kellogg (Charlotte); Photo credit: Jay Yamada)

Leading the charge is writer, Olympe de Gouges, based on the real-life Ms. De Gouges. Played by Sarah Mitchell, Olympe is a spitfire playwright, who struggles with elevating a woman’s place and voice in the revolution while trying to help the other characters out. Each lady has a mission to accomplish, but all roads lead to Olympe’s help with writing. Ms. Mitchell gives Olympe a realistically animated demeanor and is consistently conscious of where the laugh lines reside. Her performance is pinpoint portrayal of the scatterbrained focus that plagues/blesses many writers, especially in the theatre. Her thoughts move 80 miles-a-minute, and Ms. Mitchell is able to convey Olympe’s journey with true gravitas. Heather Kellogg delivers a wonderful performance as Charlotte Corday, assassin of French journalist, Jean-Paul Marat. Ms. Kellogg exudes youthful, determined assassin-like qualities, and is first of the four ladies to face the guillotine, but not before leaving a dramatic impression upon the audience through her stellar performance.

(Sarah Mitchell (Olympe) and Kimberly Ridgeway (Marianne); Photo credit: Jay Yamada)

Kimberley Ridgeway, as true revolutionary, Marianne Angelle, has the toughest hole to climb out of in her role. Easily the least developed in Ms. Gunderson’s script, the majority of Marianne’s comedy comes in her being mistaken as a servant, or being annoyed by the other three women at various times. The role is written as a stagnant, one-dimensional character with very little room to wiggle out of the emotional box Ms. Gunderson has trapped her in. The snarky, too-preachy dialogue causes Ms. Ridgeway to do more of a recitation of her lines rather than give any real nuance or inflection to her dialogue. Unfortunately, this undercuts the impact of her more dramatically grievous moments. Suzie Shepard rounds out the cast in scene stealing fashion as the Queen herself, Marie-Antoinette. Ms. Shepard’s bubbly ditzy-ness upon entrance palpably contrasts her sprinkling of profound “pearls” of wisdom (and boy, are her pearls shiny!). Partnered with her great physicality and comedic timing is a whimsical, diverse timbre when speaking, whether as unaware royalty or giving a powerful ending speech before facing her demise at the guillotine.

(Suzie Shepard (Marie-Antoinette) and Sarah Mitchell (Olympe); Photo credit: Jay Yamada)

Framing the action is one of the best sets I have seen in a Town Hall Theatre production, thanks to scenic designer, Liliana Duque Pineiro. Her design has a beautiful couple of walls with gorgeous illustrations of men and women in the heat of revolutionary battle, while imposing a series of mirrored slats onto the stage, allowing the cast to have some wonderful staging moments of reflective pensiveness. Hope Birdwell dresses the ladies in bright or appropriately-dingy garbs. The costumes speak for the characters almost as much as the lines do, and Ms. Birdwell’s detail is exquisite. Major kudos allotted to Linda Nye Wigs for providing the wig designer with some stellar wigs. Lana Palmer’s sound design is subtle, used sparingly and being very effective when audible, as it adds a delightful tension when underscoring specific dialogue and scene transitions.

This play, through its triumphs and hiccups, is a masterly comedy that has a lot of important things to say, and not just for women. This play is a perfectly timed piece of theatre, speaking to a generation in an era of politics and social rights movements with no immediate end in sight. There needs to be conversation, there needs to be accountability, and there certainly needs to be tenacity in fighting for equality. The Revolutionists is a worthwhile contribution to that fight.

Details:

The Revolutionists plays through October 20th

Town Hall Theatre Company in Lafayette, CA

www.townhalltheatre.com

[3am-atx]

"Abstraction of Perception" by Jaya Prime Best of 2k15, 6th Place - "The world is full of magic things, patiently waiting for our senses to grow sharper." ~Yeats - Notes: Time to kick off this week's posts, as I have a date with a "Star Wars" movie in a few hours. Oooh yeah! Were it not for the tiling, this would be a classic glass symbol fractal (linear-spherical). However, WITH the tiling (and some rectangles) the symbol splinters into layers of shattered reality. - Gratitude: So much mad love and gratitude for couch surfers Lilyas and Marat who took me in as the cold wave brought frost even to Florida, and such an awesome time with fellow travels and incredible cooking. Thanks also to Brenda and Spike (cutest puppy on couch surfing) who took me in when I hit St Pete. Got some royalties yesterday morning, giving me fuel enough now to outrun the cold wave completely... but Star Wars first. - Genus: #symbolfractal #fractaltile #glassfractal Apps: #apophysis Mbr Hubs: #surreal42 #lightedlight Elements: #beautiful #fractal #art #illustration #fractalart #orangecolor #fractalgeometry #boomgothecolors #fractals #loveorange #fraktal #colorporn #orangeworld #fractalist #colorful #orange #fractalgallery #mathart #lovelycolors ATX: #atx #austinartist #keepaustinweird Signature: #jayaprime - My Fractal Store (or link in bio): http://bit.ly/buyfractals