#Passe muraille

[nyxtalksmusic]

Get up if you fall Walk into the light

[ossifican]

Le Passe-muraille

[eurigmorgan]

The passer-through-walls (Le Passe-muraille) sculpture in the Paris Catacombs.

[do-you-know-this-play]

[dominicfurge]

Passe-muraille

[cowan-alger]

Here's a photo of him having a good time:

Faces carved into the walls of the Paris Catacombs

[frontmezzjunkies]

A Wickedly Fun Gothic Horror Play, “The Bluffs” Storms the Toronto Fringe Festival

#frontmezzjunkies got over to the #TorontoFringe and saw a fun gothic horror play, #TheBluffsPlay by #SariniKumarasinghe directed by #JacquiSirois w/ #ShelaynaChristante #MalcolmGreen #CydneyWatson #JustineChristensen #MidtwentiesTheatre @Toronto_Fringe

The Toronto Fringe Festival Report: Midtwenties Theatre’s The Bluffs By Ross This might be the first time in decades that I was in town and available to catch at least a few shows at Toronto’s exciting and diverse Fringe Festival, a ground-breaking theatrical platform for indie artists founded in 1989. It’s a wildly popular early-summer extravaganza with more shows than I can even comprehend,…

[twittercomfrnklin2001-blog]

The Turn of the Screw

THE TURN OF THE SCREW, music by Benjamin Britten, libretto by Myfanwy Piper, directed by Amanda Smith: Britten’s chamber opera spells out what Henry James’ novella and most other adaptations leave to the imagination. Even though the housekeeper, Mrs. Grose (Krisztina Szatio) cannot see them, the ghosts of Peter Quint (Azitha Tennekoon) and Miss Jessup (Rachel Krehm) here are very real, and your appreciation of the piece will rise and fall on how well you can accept that. I was intrigued by the way Myfanwy Price positions them as representatives of a pagan culture fighting back against centuries of oppression. Its opposition, Christianity and rationalism, is doomed to failure. The church is off-stage, represented largely by a hymn the children sing at the start of Act II. Smith’s production adds a priest, but since he has nothing to sing, he’s not exactly a powerful force against the haunting. Rationalism, as represented by the governess (the wonderful Elizabeth Potese), has its flaws as well. Her crush on the children’s unseen gardener and, by extension, young Miles (Ryan McDonald), colors her choices and contributes to the plot’s outcome.

Smith has staged the work in a challenging space. The Theatre Passe Muraille’s mainstage is rather small, though there’s a catwalk surrounding the performing area that allows her to work with levels. A lot of her staging is quite effective. There are large lattice-work panels upstage that provide places for ghostly appearances and at one point a space for Potese to spy on the spirits. The only misstep is having Tennekoon make his first appearance in the center balcony, where most of us in the orchestra couldn’t see him. Since it overhung my seat, he also dropped leaves on me, a distraction that makes me wonder what you could drop on the audience in other operas, to good or ill effect (you can make your suggestions in the comments). Smith has also cast adults as the children, which is understandable, and they both play children convincingly on an emotional/relationship level. But having an adult male in the final scene makes the inevitable ending harder to sell.

Fortunately, the singing is glorious. This is largely an opera for treble voices with the addition of a tenor as Quint. When the women and Miles sing together, the harmonies are ravishing, while Quint and Jessup have sinuous, seductive lines as they try to live on through the children. Potese, in particular, is a wonderful singing actress. The governess is one of the most psychologically complex figures in modern opera, and Potese captures her every nuance. The opera is her tragedy, and her performance made me want to see Potese tackle other intense roles in pieces like THE CONSUL or MEDEA.

[perduedansmatete]

ma crush charentaise du master connaissait la boule de fort boyard qui avait dragué sa mamie et créé par la même occasion une embrouille avec son papy, le plus drôle étant qu’ils s’étaient rencontrés à la pétanque et elle a déjà rencontré passe partout et passe muraille à une crémaillère de quelqu’un de sa famille (si vous vous demandez j’ai passé une très belle journée à beaucoup rigoler et je suis même allée à la BU pour qu’une amie me lise son cours du partiel de mercredi car avec une autre elles m’ont dit que si j’allais à la BU on allait boire des pintes après)

[philoursmars]

Quatrième et ultime étape de mon périple dans l'Ouest pour retrouver des ami(e)s lointain(e)s il y a un bon mois déjà : ma sœur Dominique et son mari, à Alençon, aux confins de la Normandie et des Pays de Loire.

On passe une journée au Mans. Visite du Carré Plantagenêt, musée d'histoire de la ville.

épée viking, avec l' inscription "ingelrii" (sans doute le nom de l'atelier, à Cologne) - Rennes, Xème s.

corne à boire en verre - Le Mans, IV-Vème s.

Fac simile d'une statuette d'homme en or - Le Mans, Vème s.

maquette des murailles gallo-romaines du Mans

boucle de ceinture mérovingienne en bronze

pions de tric-trac en os et bois de cerf - Sarthe, X-XIIème s.

voir 2

[industrial-horror]

Le Passe-muraille, "Le Passe-muraille", which means "the passer through walls", is a story from France about a man who discovers that he can pass through walls.

After leaving his job, the man began to abuse his power, using it to steal and seduce.

He eventually becomes stuck in a wall.

The sculpture seen above is meant to be the man, who is stuck in the Paris catacombs and was made by trespassers as a joke.

#legends #mystery #mysterious #unknown #lost #missing #History #enigma #unsolved #questions #explore #explorepage #archaeology #archaelogicalsite #ruins

[abridurif]

Il faut qu’à tout prix, je revienne à moi, me confie d’une façon plus directe. Ce livre, j’ai voulu le faire des éléments transposés, sublimés, de ma vie de condamné, je crains qu’il ne dise rien de mes hantises. Encore que je m’efforce à un style décharné, montrant l’os, je voudrais vous adresser, du fond de ma prison, un livre chargé de fleurs, de jupons neigeux, de rubans bleus. Aucun autre passe-temps n’est meilleur. Le monde des vivants n’est jamais trop loin de moi. Je l’éloigne le plus que je peux par tous les moyens dont je dispose. Le monde recule jusqu’à n’être qu’un point d’or dans un ciel si ténébreux que l’abîme entre notre notre monde et l’autre est tel qu’il ne reste plus, de réel, que notre tombe. Alors, j’y commence une existence de vrai mort. De plus en plus, je coupe, j’élague cette existence de tous les faits, surtout les plus minimes, ceux qui pourraient le plus rapidement me rappeler que le vrai monde est étalé à vingt mètres d’ici, tout aux pieds des murailles. Jean Genet, Notre-Dame-des-Fleurs, Éditions Gallimard, 1951, p. 114

[meirimerens]

Hi Meiri! I hope you're doing well!

I was curious about how you determined how Farkhad should speak in your fic? I love TA&tAT and was mesmerized by the way you characterized Farkhad.

HIIIII BESTIE I COULD GO ON FOR #HOURS SO HOLD ME BACK. HOLD ME BACK. ok. i'm so calm about this. ok. so excited you'd ask this is like a dram come true.

first of all for anyone who's wondering what this is about: [here is a link to TA&AT]. for the uninitiated. 😏 smirking emoji devil emoji.

OK!!!! so there are a few things, in no order of importance, just as it pops out the dome:

i think farkhad is eloquent. that's a thing he is. he is eloquent, he is well-spoken, in my mind's eye he has something of dandyism without it being tied to western europe class relations (as dandyism was). in me mind's eye he is eloquent, poised, composed, and it is this very eloquence and poise that destabilizes people. some might even think he uses it on purpose (and maybe he is, and maybe he's not. that's the point of the text, isn't it?) it fits into point 2:

he also has something of theatricality; this is because, as the game presents us, he only exists 1) as a corpse in the ground, which we never see, so we cannot check that he is truly there and 2) as a guiltghost in the twins' mind: he is kept alive through being thought about, and his (non-existence) permeates the game as it is experienced through text, in the same way a play is both experienced through text and by being acted. his existence being textual as in, relating to/being related through the text is why i wanted him to have a textual Presence, and to speak in Ways and Manners.

when drawing farkhad, i have purposefully modeled him after early/mid-Qajar era portraiture. by the elusive time Patho takes place in, this specific type of portraiture was around a century old(/outdated?). from this ambiguousness of age he bears on his very face, i took as a base for #knowing that, to me, he should talk in archaic ways, sometimes. (hence all the -est). this archaism, as well [to me] also links back to theatricality: his verbs, sometimes, but not always, follow the Early Modern English conjugation pattern (or at least I've Fucking Tried Brother, i already don't speak english as a mother tongue i'm not navigating EME that well), which many people know from Shakespeare (i refuse to say he is Shakespearean, because i do not know enough about shakespeare to bring that forth. he's closer to one voice in a greek tragedy chorus, dissonant, always in your ear).

related to point 2), to him having this ambiguous existence, this textuality: he is everywhere and nowhere at once. we do not see him in-game, we might see a distorted image that looks like his corpse-face, but we might not know. he is kept alive by andrey and peter's guilt(s): he is a passe-muraille before anything else (wall-through-goer). he permeates text and the town by existing, but not existing at once. by being at the center of everything (the Stillwater is his œuvre. the Cathedral is his œuvre) and yet having disappeared: having been made to disappear. he permeates text because he permeates minds; therefore, i had to write him permeating text. this is where "(How do you make words shiver like cello c[h]ords?)" comes in. This is how he can pronounce parentheses and the letters in them: because he is read, and his existence is text. He thrives in text, because he is kept alive through it, therefore i had to make the text feel alive. i already tried a lil with ATA, this time i pushed it. more parentheses. editor's notes walking into the conversation. AND IT WAS SO FUN!!!

at the end of #it all... as a tldr maybe. i wrote him archaic because he is 30 and 300 all at once. i wrote him making the text move, speaking parentheses and conjuring the editor because he is alive through text. in all and with all..... i wanted to write him mesmerizing because he mesmerizes through speech, which in this context is text, and i am overjoyed to learned i managed. THANK YOU FOR STOPPING BY... PEACE AND LOVE!!!!!