#reperformer

[finelythreadedsky]

by far my favorite piece of evidence for the number of actors usually necessary to perform tragedy is that if it was common to have more than three actors, demosthenes would have definitely insulted aeschines by calling him a tetragonist or pentagonist or something instead of just a tritagonist

[panthera-tigris-venenata]

Hmm. Harry getting the crew reperform My Love For You Is Ridiculous. Is that a thing?

[yuzukahibiscus]

“MAYERLING” Roundtable Discussion

(A “Roundtable Discussion” is a KAGEKI section magazine, documenting the talk between the director and the actresses about their performances. This time, I’ve translated the Roundtable Discussion of the ongoing current production of “MAYERLING”. I hope this discussion will allow you to know more about their insights!)

Adaptation/Direction = Koyanagi Naoko

Production = Fujieda Taichi

Actresses = Mikaze Maira, Wataru Hibiki, Minami Maito, Yuzuka Rei, Towaki Sea, Hozumi Mahiro, Hoshikaze Madoka, Seino Asuka, Ichinose Kouki, Hoshizora Misaki

(Discussion below the cut, spoilers may follow)

Fujieda: Starting from January 1 to January 30, 2023, Flower Troupe will be performing the play Musical Romance “MAYERLING” in the Takarazuka Grand Theatre. Script by Shibata Yukihiro-sensei, Adaptation and Direction by Koyanagi Naoko-sensei. Originated from the Claude Anet novel of “MAYERLING”, this performance portrays the tragic love story between the real 19th century Austria Crown Prince Rudolf and the baron’s daughter Marie. The performance was performed many times since its premiere in 1983 and as one of the representative works of Takarazuka, this was a revival after 30 years performing in the Takarazuka Grand Theatre. While trying to bring out the script describing this ephemeral, beautiful and ultimate love unique to Takarazuka Revue and hoping the audience would look forward to this new direction delivered in this 2023 version of “MAYERLING”, everyone from Flower Troupe centred on Yuzuka Rei are altogether, doing their best in rehearsals every day and pursuing the acting they aspire, so please look forward.

Koyanagi: As the producer just mentioned, the premiere of “MAYERLING” was performed by Snow Troupe Asami Rei-san and Haruka Kurara-san in the Takarazuka Grand Theatre. It sparked great discussion at the time, then 10 years later (1993) it was performed by Star Troupe, then after that it was performed again for many times, so for Takarazuka fans, it was one of the representative works they think of when they talk about Takarazuka. It’s been a long while since prologues in grand theatres started on the grand staircase, striking a memorable impression, and the fact that this could be performed in the Grand Theatre after a long while, and the vibe created by the combi of Yuzuka-san and Hoshikaze-san were very suited to this, that is how what brought this rendition in the Grand Theatre. It’s been 40 years since the premiere, and I’ve been able to receive the many scripts used over these years. The foundational thing is hoping to preserve that amazing vibe in the premiere and progressing on with changes that are not drastic. We’re not trying to imitate the past performances, but thinking that it’s essential to create something solidly from this performance, everyone would act their roles as what they are given straightforwardly, taking into account what acting means. I think this is the significance of coming together as one and thinking precisely what we want to create.

Yuzuka: If we talk about Takarazuka, “MAYERLING” is a famous musical like a treasure and I’m nervous but also very happy when I could challenge to perform that in the Grand Theatre. Koyanagi-sensei was really careful to craft the acting and she gave us some lectures about it, teaching her direction one by one, now that I think of it, this process was very fun. When we are to reperform “MAYERLING” again, while holding utmost respect for the performance, I hope to connect myself with the role I’ve received and spend this fun time of pursuing the role.

Conversing with the roles　 Challenging this performance with a new approach

Koyanagi: Then let’s talk about the various roles. First we have Yuzuka-san playing as the Austrian Empire Crown Prince Rudolf.

Yuzuka: I first received the role of Rudolf in “Elisabeth – A Rondo of Love and Death” during the role swap cast (LOL). At that time, I already had a profound interest knowing how the Crown Prince Rudolf lived and knowing about his life. Now that I’m able to have a different viewpoint in a different performance to play the same person, it makes me excited. Now, since Koyanagi-sensei was very precisely teaching us about creating our roles, embodying our roles, studying our roles, by doing these one by one, I actually felt that this role of Rudolf seemed more realistic on the surface. I was very happy to be able to do that, and I’m in the phase where I wanted to know more thoroughly about this person Rudolf.

Koyanagi: This time, I wanted everyone to have a little different approach than before to creating their characters, which is not acting from the prior impression they have for their role. Firstly, when they read the script carefully, I want them to focus on how to make this performance persuasive and close to the theme – such as what this person is thinking and what they would say – helping them pursue deeper into the role, but at the current phase, I don’t think they’re in the state yet to confidently say “The role is like this.” Rudolf is a role that everyone already had an impression in mind of being “this kind of person”, but he’s also a someone multifaceted and one that makes you wonder what his true side looks like and a lot of those mysterious parts remains to be solved. That’s why I decided not to stick with just one archetype of the Crown Prince in a tragedy or a dreamer, but I hope to create him as someone that made the final decision because of various kinds of connections contributing to it...He could be as seen as one of the “turmoils” leading to the end of Habsburg history, but I don’t want to delve into why this “turmoil” happened, rather just deliver as how he is. Now Yuzuka-san is having trial-and-error for studying this role. I hope that towards the end, when she stands on the grand staircase for the prologue, she could really bring that role of Rudolf to life as it is. Then how did Madoka-chan (Hoshikaze) think of the role you’re playing as the baron’s daughter Marie Vetsera?

Hoshikaze: There were many performances portraying about the Habsburgs in this country at this time, and they were showcased in different perspectives. Since there were so many sources I could learn from, I tried not to confine myself to a particular image and studied the script word by word deeply. My objective is trying to interpret and living as the role of Marie Vetsera living in this story. This time when I read the script, even in parts where I would not be on stage, I’ve read all the scenes delicately and precisely trying to understand how all the roles would be played out, and with that, I could have a greater understanding for this production and be able to create my role.

Koyanagi: Even though Marie is someone who existed, there’s also the “Marie” as written by Shibata-sensei, so there’s many ways of shaping the role. In present, we think about what kind of existence Marie serves in this performance of “MAYERLING”. Not confining to the presupposed or fixated perception, I hope that you could see a Marie Vetsera in a novel perspective and see a new kind of Hoshikaze Madoka. How did Yuzuka-san and Hoshikaze-san think about Rudolf and Marie at this phase?

Yuzuka: As Ssensei just said, we’re not trying to bound ourselves to the image of the role, we’re trying to bring forth more of the warmth of the roles and create the essence of the roles. Rudolf is really a complicated kind of person and Marie is also quite like that.

Hoshikaze: (LOL)

Yuzuka: Since she’s a fan of the Crown Prince, she didn’t want to leave Vienna where he is from, right? She’s very insistent and strong-willed about that...Even quite stubborn, right?

Hoshikaze: Yes, yes (LOL).

Koyanagi: When I thought the role with Madoka-chan together, we thought that Marie didn’t leave not because she would feel lonely (without Rudolf) but because she was worried for the Crown Prince. “If I’m not here, I wouldn’t know how would he be feeling, that’s why I don’t want to leave” was the reason why.

Yuzuka: That’s also a way of showing that you like a person, right. It was interesting how Sensei described Marie visiting Rudolf as “going to the room of your idol”. Then when they first met, Marie said, “You always seem so lonely to me”...

Koyanagi: At that time, Rudolf was often at the Prater Park and he was popular amongst the Viennese women so many would probably feel that way if they could enter his room. This performance is where you can feel two kinds of charms from Marie – she has that pure feeling of admiration that’s close to liking him, and also that gentleness and inclusivity of wanting him to support him like a Saint Maria kind of figure.

Yuzuka: (facing to Hoshikaze) But the role suits you. You’ve “become friends” with Marie, haven’t you?

Hoshikaze: (LOL) How should I say it, it’s possible to say that it doesn’t feel like too distant imagining about Marie’s situation...

Yuzuka: Yes, yes, in terms of her mentality.

Hoshikaze: Yes, in terms of mentality. Because of that, I want to know more about her feelings, I want to ask some questions to her to understand her more.

Yuzuka: In that sense, we’re not just creating the picture of the misfortunate Crown Prince and that pure, adorable Marie, but I hope to present this human drama as why they chose this path.

Koyanagi: That’s how it is. Then, we have Rudolf’s cousin Johann Salvator played by Minami-san.

Minami: My honest feeling while reading the script was this is a very difficult role. Be it creating it from the inside, and output-wise he’s a role that is a storyteller to the audience from the start introducing Rudolf and Marie, so at first I’d have to convey the words exactly as they are and it feels like returning back to the roots of being as a stage performer. Practising solidly with myself, working on how to project my voice. About the role, I've spoken to Sensei about the biography booklet I wrote for Johann.

Koyanagi: This time, everyone was given the assignment to write a biography booklet of their roles. That’s how everyone can have some discoveries and there’s no right answer so at first you could write about some ways how you could come closer to acting this role. I also benefited from reading these biography booklet.

Minami: When I was talking with Sensei yesterday, I had a new realisation that Johann was quite a complex person in the House of Habsburgs. Since I discovered and felt a lot from the rehearsal classrooms, it feels like conversing with him every day that I can see how he felt and the face he shows to everyone else.  I’m trying to create that different part every day.

Koyanagi: As Minami-san said, Johann Salvator is a role of a storyteller so if you don’t concretely express it with words, you’d lose the characteristics of that role and become a machine merely explaining the story without character and emotion. This is a role where it’s difficult to maintain that balance. I think this is a role that you can’t convince even yourself if you don’t create it solidly from the inside. By (enhancing the persuasion in storytelling) is how you can go for trial-and error and go one level deeper. Then how about Mikaze-san who plays as Marie’s wet nurse Jessica?

Mikaze: While writing for the biography booklet, I didn’t write the full name of Jessica. The teacher pointed that out and I realised I wasn’t familiar with this person yet that I’m playing as Jessica...But now I don’t want to be just the role of Jessica but become her. Sensei did say that the movie “MAYERLING” had a strong impression and I tried watching it. Even though there’s no subtitles and I don’t understand the language, it really felt that the conversations amongst the characters were telling me their message. I realised how important it was to consider what the people were thinking at that time. What does Jessica’s presence mean in the House of Vetseras, how do I want the role to turn out are some of the things I think when creating this character.

Koyangi: That actress was really good at it and very convincing. I thought that as if she was really a Hungarian wet nurse (LOL). There are common patterns like “the maiden’s wet nurse” and the “prince’s servant” but I don’t want to have the conception this time. I’m aiming for this “MAYERLING” to be filled with the totality of the production tone and its chicness. On the Takarazuka stage, we want to go for the approach to be as close as making you imagine what kind of people are living in the houses of Vienna in 1888. From that aspect onwards, I feel that’s how we could have that kind of new wet nurse Jessica created. Then, how does Towaki-san feel about playing Rudolf and Johann’s other cousin, Archdue Ferdinand?

Towaki: In this new version of 2023 “MAYERLING”, I was thinking that one thing changed for Ferdinand. You can see Ferdinand is a good guy at a glance but I felt more how he was having these struggles and resisting them. For Rudolf-san, for Johann-san and also for Ferdinand, even though they have many choices and ways of live to decide on, in order to make Rudolf and Marie’s choice of death stand out more, I created my role thinking about the balance and nature of this role.

Koyanagi: In history, Franz Ferdinand was a famous person known for one of the reasons leading to the outbreak of the First World War. At first, I think it’s interesting that this kind of person is included and portrayed in “MAYERLING”. In history, it’s established that he was a resilient person, but this performance portrays a more tender side of his. "MAYERLING” shows both a “Before” and “After” side of Ferdinand, the latter connected a little bit more on his historical side. It was like feeling how Ferdinand was involved in this. With that kind of story, “MAYERLING” becomes a production overlapping with history. Also by portraying the three cousins Rudolf and Johann and Ferdinand together, you can see how they encountered their respective kinds of fate and lives they led.

Yuzuka: This time, there are scenes where the three dance together and when they talk to each other.

Koyanagi: Yes. That’s what I wanted to create more for the three’s relationship, what do you think?

Minami: ... It can’t be explained in a word.

Everyone: (LOL)

Yuzuka: That’s because from the moment they’re born, there’s a complex relationship coming out of it already.

Koyanagi: It’s a boys’ kind of friendship. But also it can't be explained with just that because the three do have some complicated struggles and other problems they’re dealing with.

Yuzuka: But they do get along. From the roots of it they do get along, but with some other external factors, they’ve become a relationship that can’t be explained with just a word.

Koyanagi: But they’re like normal guys that even though you’re childhood friends, you don’t want to lose to each other and sometimes they have things that they’re always so envious of. This time I think the relationship of the three is like: when politics is involved and they are being used, they are there to comfort each other. But the three standing together is very amazing, that alone is a delightful sight for the audience. Then onto Rudolf’s friends. How does Hozumi-san think about your role as Count Hoyos?

Hozumi: I love this period of history of Vienna. For me that’s living in the modern world, I may think that a change in one person’s behaviour must mean great transformations in history. But if people faced obstacles when they’re in chaos, they’d choose to take action, so I want to convince you Hoyos is also that kind of person. Since he really existed, while interpreting the nature of that period of time, I want to solidify the image of the frame we’re trying to form out of this performance. While continuing the rehearsals, it’s not just about where I should look or how I present my actions, but from the inside, firmly creating the role.

Koyanagi: Even though it’s common that there are friends to the protagonist, if you play those roles, the quality of the performance would be better. It’s great to have characters playing along with the prince, good friends that love wine. But it’s also good to discover that that’s not just it, and look into what kind of people they are and what are these people’s motivations. I look forward to what you are to express to the audience. Then, similarly also playing as Rudolf’s friend Prince Philipp, Ichinose Kouki-san.

Ichinose: I was surprised when I knew I would be playing a prince role (LOL). Playing as Yuzuka-san’s friend also makes me happy and excited to create this character. There were actually a lot of sources that remained for reference, and while speaking to Sensei about the biography booklet I wrote, I started understanding Philipp’s background and his resistance to the political system. There's Rudolf when he’s with his friends, and Rudolf when he’s with his cousins/princes. I hope that I could help make such natural contrast possible.

Koyanagi: Since Rudolf is a multi-faceted person, you can see another side in him when there are these two friends. If you think well about it, you may wonder why this complicated Rudolf who’s often anxious with these two bright people together?

Everyone: (LOL).

Koyanagi: Then towards the end, these two are also the people who actually saw Rudolf’s death, perhaps there’s some similarities that Rudolf shares with these two. Even Rudolf’s adjutant (Note = Captain Maurice played by Misora Maru) spoke with the two asking them “Please help His Highness”, from there you can see Rudolf isn’t really alone.

Yuzuka: Since Rudolf is really different when he’s with his cousins and when he’s with his friends, it’s interesting to bring out both kinds of acting, and his character becomes more dimensional. I’m still at the phase where I’m just “looking up to” Rudolf (LOL) and wasn’t able to think about his relationship with other friends yet, so I hope to become even closer to them.

Koyanagi: Then the two serve Rudolf, first we have the servant Loschek played by Loschek, Wataru-san.

Wataru: Loschek-san exists and gives an impression for me of someone with white hair and a comical character. I thought that would be the correct answer but I reflected again later on. Also Loschek-san was only described as “an old servant” and “reticent”, so he doesn’t speak much and there’s no other places I could present him. I’d have to rely on my actions to play him, but now instead of that, I thought about living and embodying the character from the script, therefore the first important thing is to create such a foundation for it.

Koyanagi: Things deemed acceptable change over time and that goes for actors too. Especially for a role like Loschek, I felt that the way of playing the role changes a lot. In that sense, you’d have to go back to ground zero and create it, and it's a difficult but important thing to bring such a memorable character to life. I hope that this character could be created from scratch to appear in the same place, to create a stage that looks different but the story is the same. Then, how does Seino-san feel about playing Rudolf’s carriage driver Bratfisch?

Seino: Bratfisch is Rudolf-san’s personal driver, and why did Rudolf chose Bratfisch to be close to him? It's probably his personality makes him a comfortable presence that Rudolf could allow him close...Even though that’s still my imagination. I want to bring out this charm of Bratfisch so I wanted to “talk more to him” about it. Also, I’ve discovered so much ideas from his lines. How do I make his role convincing from the lines I speak? As Minami-san has just said, I want to cherish my lines and set objectives for myself as I start honing the foundational parts.

Koyanagi: The same as I said for Loschek, playing Bratfisch is also difficult because it is a role that also changes with time (depending on how the actress plays him). Since he’s also someone that existed, he’s someone entertaining the aristocrats by singing and dancing. In other words, he is a Viennese taiko drummer, and I think Shibata-sensei tried to express that character in that way. The existence of taiko drummer itself may become unfamiliar in modern times, but I feel that it is necessary to devise ways to convey it to the present while preserving Bratfisch from how he looked in the premiere (in 1983). Above all, he’s an existence that was at the start and the end of Rudolf and Marie’s relationship, so I hope (Seino-san) could bring that out too. Then lastly, how does Hoshizora-san think of playing as Johann’s lover Milli Stubel?

Hoshizora: At first Koyanagi-sensei said, “If you’re confused you can talk to the character” and that was a very helpful deep reminder in my heart. So every night, I’d think of being in a cafe with Milli in my imagination (LOL). I hope to discover more about this woman. The script mentioned that she’s a civilian dancer that existed in real life. And from there, I tried to relate it to Rudolf’s suicide note wrote, “Thanks to the love and freedom Milli and you showed me.” To think what is this love? Why did Milli like Johann-san? And I’m in the phase where I just want to ask her many questions.

Koyanagi: I’d think that Milli’s presence could be seen together with Johann and Johann’s presence could be seen together contrasted with Rudolf. In Vienna, she existed in history as a ballet dancer, so when her relationship with Johann worked out, that affected Rudolf. As a way of presenting her, I’d say don’t express too forcibly but just accumulate the acting experience as it goes on and it would help enhance persuasion. It looks like you’ve seen the tip of an iceberg but there’s actually the foundation underneath that this role could make this performance more reasonable and persuasive to watch. From Milli’s biography booklet, we could know that Johann and Milli lived together.

Johann: Oh, I didn’t expect we’re going to talk about that here (LOL).

Yuzuka: Didn’t you write about that (in your biography booklet)?

Koyanagi: Yes, she did. (She wrote) “They were allowed to live together.” (LOL)

Minami: (LOL). Since I believe you can discover a lot from Johann and Milli’s impressions from their conversations, I want to only focus on how to make the conversations matter and as Sensei said, don’t try to overdo it. Because Rudolf must be able to see some kind of image in them, from now on we hope to deepen that so that he could see it acutely.

Koyanagi: Acting is all about preparation. Since it only takes one moment to put everything together in place, how should we create those unseen parts on stage leading to the ending? This is also what we try to do precisely this time, so we hope that the audience could look forward to how we’d present to you.

Roles and the nature of what we want to deliver in this performance

Koyanagi: Then finally from Minami-san, Hoshikaze-san and Yuzuka-san let’s hear about your aspirations (for this performance).

Minami: I have respect for the performance and the role and now I’m rehearsing by simply communicating with my role Johann and hoping to play well as him. Even in the rehearsal stage, the prologue is already very glamorous, and I’m also excited. Then when the curtains open on the grand staircase, it's wonderful seeing everyone on the staircase. The fact that we’re inheriting what’s passed down from generations is unfailing, and I hope that now all of us could do that and show you this greatest performance. We will prepare as much as we could as if we’re making the most of our ingredients, rather than adding more flavour into it.

Hoshikaze: As Minami-san said, it’s really an honour to perform yet another era of “MAYERLING” in the Grand Theatre and even now, I’d also imagine how amazing and glamorous it would be to start 2023 like this. I hope to deliver more than my expectations to the audience, so I’ll continue to converse with Marie in this performance. Because there is so much to learn more about her relationship with Rudolf-san and because there are many emotions coming out of this, I’d like to enjoy the rest of the rehearsals from that.

Yuzuka: Even in rehearsals, I still think “MAYERLING” is such a wonderful performance. The story is interesting on its own. The moment you hear the opening theme song, it reverberates in your heart like “It’s starting!” as you feel the power of the harmony, and the echoing of the live orchestra in the Grand Theatre, which is why now I’d look forward to it. With Koyanagi-sensei as the director this time, you can feel from every bit of the stage setting how gloomy the depressing vibes of the House of Habsburgs was, but also conveying that kind of royalty and solemnity. As we just mentioned about delivering a “chic MAYERLING”, the costumes are of high quality and fashionable, giving a touch to the era of the time, so I’m very excited to walk on stage in that ambience. Also personally for me, I’m not the best person at expressing what kind of person a certain character is...I think acting is about a way of presentation showing how a person is, and even though there are parts different from history, I hope Rudolf-san in heaven would think “I didn’t expect you to think so deeply”, so I want to cherish and value this time to learn more about him. While holding respect for him, I hope to create this performance as we all follow Koyanagi-sensei’s instructions and enjoy the fun of acting.

Koyanagi: There may be parts that confuse them since the approach was different than normal, but I could feel that everyone was working positively and having fun so the rehearsal room felt alive. I wasn’t always working as Shibata-sensei’s assisant, but to help everyone converse with their roles, I also asked my sensei how I should do it. Now I'm still unable to answer "why I’m the director this time” (LOL). Shibata-sensei was someone passionate about the completion of a work, and had the love for the siennes, and the enthusiasm to teach them. I thought if I learn from such a mindset, (”MAYERLING”) would turn out to be a good performance. The significance of performing “MAYERLING” this year is aiming not to forget the nature of the performance, and most importantly never stop loving the Takarazuka siennes. So I will remember these two points deeply in my heart so that when the curtain opens Shibata-sensei could say, “You are working hard!”. Everyone, let’s do well altogether.

Everyone: Yes!

[ellianasdeadpointeshoes]

having now seen the variations (and knowing what you know about their contemporary) what do you think the odds are of sav or kya making the final round? and do they only reperform their classical for that?

Yes its only classical and im hopeful for them.

[libraryoffangirl]

i hope if sweden reperforms this song next year when they win the crowd just sing cha cha cha over it

[theinternetmusicalguy]

MY TGWDLM THEORY (it’s probably not just mine, it’s probably really popular but I felt compelled to post nonetheless)

Hi! I’m Mylo, your resident TGWDLM obsessed guy. I’ve seen it 49 times (and counting!) with friends and by myself, so you start to notice a few things after seeing it that many times.  I actually developed this theory after like...my 5th watch, BUT I’D LIKE TO SHARE IT WITH THE WORLD!  Uhh, warning, I’m gonna go off-track and on tangents I’m sorry in advance “ Do you mind if I give you the pitch? “ The musical is a reenactment put on by the aliens.  See, you’ve probably heard of this theory before, but I’m here to provide evidence! Here goes; IT IS CANON that non-infected people cannot hear the background music. (Which, by the way, I find to be a really cool detail, especially in Join Us and Die where everyone is...talking over the music, because they can’t hear it, and in Let it Out, where you can SEE Paul’s reaction to hearing the music for the first time oh my GOD Jon Matteson SLAYED that role and everything about it) This detail is important for the core of our theory, because if non-infected people can’t hear the music, how is the audience hearing it? How are we, the viewers, hearing the things only the aliens can hear? Because the audience must all be infected, the aliens are reperforming to themselves to retell the story.  I’ve also seen a theory going around that Emma got away? And I’m so so sorry to crush your bubble but if she got away she wouldn’t be in the opening number :( SPEAKING OF THE OPENING NUMBER The recap of everything fits perfectly with the theme of this being a reenactment. It’s to catch up to speed everyone listening!  ALSO! The meta jokes. The joke after Show Stopping Number to clear the stage (Should I take this chair?! I’ll get the piano!) wouldn’t be there if it wasn’t a reenactment. The slow-mo in the helicopter is another example of something that had to be added by the aliens.   I believe it’s also canon that it took 2(?) weeks for the infection to spread out of Clivesdale and across the globe so woohoo the world’s infected and my theory is probably correct!   You could argue; hey, it’s just a fictional musical! Duh, it’s gonna have musical gimmicks. AND TO THAT I SAY; STOP. PLEASE. (/lh) THIS MUSICAL MEANS EVERYTHING TO ME AND I WILL NOT STOP TALKING ABOUT IT LET ME *LIVE*  Final thoughts? uhh the world is doomed to become a musical love you guys enjoy not-singing while you can <3

[catilinas]

you know the sexy tension in the pharsalia where reading the poem effectively brings the civil war back to life and so is nefas. but reading the poem And Then Stopping effectively kills all the historical figures you have brought back to life to reperform the civil war for you and so is Also nefas. and Not reading the poem allows caesar’s commentarii to remain the dominant narrative of the civil war and is so Also also nefas. hashtag you are not immune to participation in civil war. anyway that’s also how sophocles’ ajax works. to me. the audience is actively killing him and the audience is actively keeping him alive hashtag how much overlap is there between the internal audience that ajax’s shame functions through and the external audience that is like. you wouldn’t (download) scrutinise the goddess athena. tantaene animis caelestibus irae. or like. the guilt the external audience might feel in being Unable To Look Away (or are they?) And That’s What’s Killing Ajax UNTIL it’s revealed like. prophecy time as soon as he’s out of sight he Is going to kill himself. but then he does it on stage anyway. only guy to do that Ever. what does it all MEAN!

[elidelochans]

I have this theory that all the surprise songs Taylor messes up, she's not reperforming on the us leg of the tour. They're being saved for international dates.

[finelythreadedsky]

hi— just curious, what is the post you’re referencing in your latest post about hanging a gorgoneion on your door? i know you said that the post you’re referencing is misinformation but i feel like i’m missing out on a joke and would just like to know about it lol :) thanks

it's a vintage post (2013) and the claim was that in the 'original' greek version of the story (i.e. before ovid/the romans got hold of it), athena gave medusa her monstrous appearance and the power to turn people into stone as a gift to allow her to live a life apart from men, and that because of this depictions of her head were hung over the doorways of women's shelters to symbolize women's power and ability to separate themselves from male abusers and rapists. it's a load of bs for more reasons than i can count, which range from the existence of pindar's twelfth pythian to the fact that ancient greece did not have women's shelters to the (imo pretty compelling) interpretation of the act of creating/displaying the gorgoneion as a reperformance of the story of her decapitation as an aetiology of patriarchy and the proper role of men as sole possessors of agency and subjectivity (rainer mack, 'facing down medusa (an aetiology of the gaze),' 2003).

[brbnightmares]

highly scripted celebrities

one thing about the internet age, along with there being tons of thrown together press clip biography magazine pieces all over digital broadcast tv... is that it really reveals something about a lot of iconic celebrities with decades-long careers of press coverage.

They come from a time before even VCRs, let alone the instant distribution of punchy clips all over the internet the night of broadcast.

So many of them, their personal narrative is like a 20 minute stand up act that they have reperformed as an “intimate interview” over and over forever.

When you only caught them on tv every 9-18 months it was not only less conspicuous, but probably nice to hear the story again.

No hate to Dolly, but if I never hear that town whore “painted lady” anecdote again it will be too soon. Even in new interviews, she’s still doing the bit as if it’s the first time.

Bette Davis is another one. There are clips of her telling the same exact stories nearly verbatim throughout the decades and it always has this projected vibe that it’s a shocking revelation, her being so bold for finally revealing this salacious confessional.

(I am mostly familiar with examples that are women because paying attention to men from the 30s-70′s would actually kill me.)

SIDENOTE:

Related to this topic... another result of this change has been the decline in STUPID “running joke” SNL characters, where the only joke was that it has been done before and if you liked it -- well here it is again with nothing added. This mode of comedy holds zero power in a world with the ability to look up and rewatch the skit without the needed serendipity of having recorded it by chance. Goat Boy, Mango, the head bobbing Roxbury guys. Not funny in any shape or form whatsoever beyond maybe the shock of its initial introduction. They always tried to recreate the shock by having the host be a “i’ve never seen this before” straight guy.

[giraperformidia]

a situação da brasileira de pulôver. 2016 Cabelodrama (SP)

videoperformance texto, gestos de amarrar, peças de roupas São Paulo 7'41'' Em 1978, Geraldo Anhaia Mello se filmou como um apresentador de telejornal na vídeo performance “A Situação”. Intercalando goles de cachaça à repetição da frase “a situação social, política, econômica, cultural brasileira”, o artista questionou a habitual suposição de “neutralidade” na postura do âncora. O efeito rápida ingestão da bebida, produziu uma condição corporal mais convincente sobre os fatos da época que, via de regra, eram censurados na grande mídia. Na reperformance “a situação DA brasileira” propomos um comentário da ação referida à partir de duas modificações fundamentais, a troca do material e do gênero da frase repetida.

[commandtower-solring-go]

I read the Wiki entry which explains this, and I'm going to try and explain it to you.

Why

Dark Souls 2 has never made its loot drop rates public. As such, the specific drop rates of any given item, and the impact of items which increase drop rates are entirely unknown. Brute force testing must be done in order to discern drop rates.

How

This diagram reflects the data collected after defeating 3 Charred Loyce Knights in the Old Chaos area just after defeating the area boss in a New Game +1 run. Then tester would sit at a bonfire to respawn all the enemies in the area. Then they'll go kill them again.

Each set of killing the 3 Knights and resting at a bonfire in the area is called a 'run'. After 16 runs they would reload the save to prevent enemies de-spawning permanently as enemies will begin to de-spawn forever after 20 kills and are guaranteed to by 60.

Base values (single equipped items) were run 64 times (4 sets of 16 runs and save reloads) and are repeated 3 times . All other combinations were run 2*64 times. All runs with outlying results were reperformed.

What

To begin I would like to say that none of this is explained. I had to figuire this shit out. I'm very much reverse engineering and making logical jumps based on the results of the data and suggestion of explanation provided.

The table on the top right depicts the number of items worn, and they are reflected in the data as the kind of line used. They are as follows

An Acronym is used where any single item is worn

A solid line is used to reflect the results of two items being used

A circle is used where any three items that aren't a Helmet are used

A line made of dashes is used where two items & a hat is used

A bold circle is used where any four items that aren't Helmets are being used

A line made of dots and dashes is used where any three items and a Helmet is used

A bold line is used where any 5 items are used.

The table on the bottom right depicts the relationships between the two items and how additional modifiers changed the drop rates. These show the modifiers

. But, heads up, this is the LEAST CLEAR part of the entire explanation and at no point is there an explicit explaination of what these mean.

White is used for non-helmet item's base drops

Brown is used for helmet base drops

Blue is used when a modifier results in a worse drop rate

Green is used when a modifier results in a better drop rate

Red is used when drop rates are combined

The Blue circle depicts potential outliers. Values which are potentially too high or too low based on the rest of the data

The rest of the table interacts as follows

If two items are used together, then a line is drawn between them and the number of items dropped when they are used together is placed at the centre.

If three items are used, then the third item will have a line drawn between itself and the number provided by the process above. Their resulting drop number will be drawn between them.

For example

Using RC resulted in 49 drops. WDP resulted in 42 drops.

The combination of RC and WDP resulted in 51 drops. As depicted between them

The combination of RC, WDP and JSC resulted in 55 drops. We can see this line is connected between JSC and the 51 result from RC + WDP.

And we can verify that this is correct by looking at the data tables they also provided. Look to the far right as they're the total drops.

and the combinations

Assessment

The reason the diagram is so hectic is because the creator is trying to depict too much data at once.

They are, effectively, displaying 4 dimensions of data: The raw numbers, the number of items worn at a time, whether those numbers are improved or made worse by modifiers and the relationships between the various combinations.

Oh and also

Which set of data is comprised of helmets and non-helmet combinations. 5 dimensions.

Conclusion

I'm at a sincere loss for words regarding the ambition of trying to shove this much data into a visual diagram. Its like watching a train wreck. I could not look away. I'm watching someone trying to write The Bandersnatch. But its data about drop tables in Dark Souls

Also, there is still no definitive data. Just best practice. Here is the actual conclusion

We still don't know % modifiers. But hey, know you know. Symbol of Avarice is where its at.

In conclusion, I can't understand the English language anymore

this is still my favorite esoteric diagram of all time. even the gravity of pepsi doesn't compare

[aboutanancientenquiry]

Giulia Donelli on Herodotus and Sappho

Giullia Donelli "Herodotus, the Old Sappho and the Newest Sappho", Lexis Num. 39 (n.s.) – Giugno 2021 – Fasc. 1

Abstract This paper focuses on Herodotus’ mention of Sappho in the Histories (2.134-5). Through the analysis of some of the extant sources on the involvement of her brother Charaxus with the hetaira Doricha/Rhodopis, it advances an interpretation of Sappho’s fr. 55 V as relevant to the affair. It then draws attention to Herodotus’ description of courtesans, in the same context, with the poetic term ἀοίδιμος. The adjective occurs only once in Homer, in the self-deprecating words that Helen speaks to Hector (Il. 6.354-8). Such Homeric echo might be understood as triggering an allusion to Sappho’s own treatment of Helen in fr. 16 V: Helen’s behaviour in that poem in fact closely matches no one other’s than Charaxus’ own. The possibility that Herodotus might be engaging with more than one Sapphic poem in this context finds a parallel in his engagement with Pindar’s poetry in 3.38, where, it has been argued, he ‘contaminates’ two distinct Pindaric intertexts (frr. 169a and 215 S.-M.). The contamination of thematically linked poems might in turn suggest, in both cases, sympotic reperformances as possible contexts for Herodotus’ reception of Greek lyric poetry.

[whatsonmedia]

Art Odyssey: Explore the World's 7 Best Exhibitions!

Embark on an artistic journey through 2024's most exciting exhibitions! Dive into immersive retrospectives and thought-provoking thematic explorations. Discover groundbreaking works and intriguing themes across continents. Join us for an unforgettable adventure in the world of contemporary art! M.F. Husain: The Rooted Nomad Where: Magazzini del Sale, Venice When: April 18 – November 24 Explore the captivating life and artistry of M.F. Husain, a trailblazer of Indian modernism, in this immersive exhibition running parallel to the Venice Biennale. Supported by prominent art collector Kiran Nadar, delve into Husain's innovative works that transcend cultural boundaries and explore themes of exile and identity. Website: The Rooted Nomad Christina Ramberg: A Retrospective Where: The Art Institute, Chicago When: April 20 – August 11 Christina Ramberg: A Retrospective at The Art Institute, Chicago Experience the groundbreaking art of Christina Ramberg, a key figure of the Chicago Imagists movement, in her first major retrospective in over three decades. Delve into Ramberg's thought-provoking paintings, which challenge societal norms and offer poignant reflections on femininity and power. Website: Christina Ramberg Anna Park: Look, Look Where: Art Gallery of Western Australia, Perth When: April 20 – September 8 Anna Park: Look, Look at Art Gallery of Western Australia, Perth Uncover the thought-provoking commentary on media and reality in Anna Park's mesmerizing black-and-white drawings. Through her satirical style, Park sheds light on the illusions of fame and perception in contemporary culture, inviting viewers to question the narratives presented by the media. Website: Anna Park Figures on Earth & Beyond Where: Gallery 1957, London and Accra When: Through May 25 (London), late 2024 (Accra) Figures on Earth & Beyond at Gallery 1957, London and Accra Embark on a journey of interconnectedness with a diverse group of artists exploring themes of nature, belonging, and ecological change. From surreal collages to abstract cartographies, immerse yourself in artworks that challenge perspectives and evoke wonderment. Website: Figures on Earth & Beyond Thomas Nozkowski: Everything in the World Where: Pace Gallery, Manhattan When: Through April 20 Thomas Nozkowski: Everything in the World at Pace Gallery, Manhattan Celebrate the influential legacy of Thomas Nozkowski through a retrospective of his remarkable career. Explore his intimate yet powerful paintings, which defy artistic conventions and invite viewers to explore the depths of personal experience and perception. Website: Thomas Nozkowski The Last Caravaggio Where: National Gallery When: April 18 – July 21 Experience the dramatic works of Caravaggio in his possibly final masterpiece, "The Martyrdom of Saint Ursula." Immerse yourself in a world of darkness, violence, and passion in this captivating display of Renaissance artistry. Website: The Last Caravaggio Marina Abramović Retrospective Where: Stedelijk Museum When: March 16 – July 14 Marina Abramović Retrospective at Stedelijk Museum Journey through five decades of groundbreaking performance art with Marina Abramović's retrospective at the Stedelijk Museum. Engage with iconic works and live reperformances, offering a unique opportunity to participate in the transformative power of performance art. Website: Marina Abramović Read the full article

[insomtiny]

i need dreamcatcher to reperform why did you come to my home idc about love shake why did you come to my home is still a banger

[whileiamdying]

Marina Abramović gets Royal Academy of Arts show—but will she be present?

Marina Abramović pictured in 2010 performing her epic work The Artist is Present at the Museum of Modern Art in New York Courtesy of Marina Abramovic Archives; © Marina Abramovic; Photo: Marco Anelli

It is hard to overstate Marina Abramović’s influence on contemporary art. Since establishing her reputation in the 1970s, the starry Serbian artist has redefined the nature of performance art and propelled it onto the world stage.

The Royal Academy of Arts in London was due to open the UK’s first major retrospective of her work in September 2020, but it was postponed due to Covid-19. “We used the intervening years to start again from scratch,” says the exhibition’s curator, Andrea Tarsia. “Marina has been generous in developing not one but two exhibitions with us.”

Spanning the 50-year career of the artist, who was born in Belgrade in 1946, the much-anticipated survey will chart her practice through photographs, videos, objects and installations, as well as four of her ground-breaking performance pieces. Visitors can look forward to reruns of Imponderabilia (1977), which saw Abramović and her former partner and collaborator, the late German performance artist Ulay, stand naked in a narrow entrance, forcing visitors to squeeze between them and choose who to face.

Ulay and Marina Abramović, Imponderabilia (1977)Galleria Communale d’Arte Moderna, Bologna. Courtesy of the Marina Abramović Archives. © Ulay / Marina Abramović

The exhibition will conclude with a reperformance of The House with the Ocean View (2002), an intense durational work in the wake of 9/11 in which the artist lived within three specially constructed units at New York’s Sean Kelly gallery for 12 days, subsisting only on water.

While the exhibition has been developed in close collaboration with Abramović, the exact nature of her live participation is yet to be determined. What we do know is that the performance pieces will be re-enacted by others. “This is an exciting element of the exhibition, and is a process that has been unfolding over a period of many months,” Tarsia says. “It started with a series of auditions from which we selected around 40 emerging artists, who have undergone a period of training in the Marina Abramović Method, which consists of a series of exercises conceived by Marina in the tradition of artists like Tadeusz Kantor or experimental theatre directors like Jerzy Grotowski.”

Tarsia believes that the reason Abramović is one of the world’s most exciting contemporary artists is due to her “fearlessness”, “reinvention” and “generosity”. “Fearlessness not only in terms of the demands she has placed on herself with her work, but because she has ploughed her own path,” Tarsia says—a path of mental and bodily endurance paved with everyday actions. Another indication of her stature is that Abramović will be the first woman to take over the entirety of the Royal Academy’s main galleries.

• Marina Abramović, Royal Academy of Arts, London, 23 September-1 January 2024