Women Of Troy
Posted 06 September 2007 - 02:07 PM
It's been an interesting KM year for me. I loathed Attempts, loved The Jewish Wife. So I'm hoping Troy will make it a 2-1 win for the good stuff.
Bound to be a few others here booking for it? (Plus, no doubt, a few giving it a wide berth).
Posted 06 September 2007 - 02:16 PM
Posted 06 September 2007 - 02:23 PM
Posted 06 September 2007 - 03:38 PM
Posted 06 September 2007 - 03:57 PM
Posted 06 September 2007 - 04:08 PM
Posted 06 September 2007 - 11:18 PM
And I too was glad to see no 'video designer' because Attempts on Her Life was a massive step back for KM, imo, though I liked Waves quite a lot...
Posted 07 September 2007 - 06:44 AM
Josh, why would you even think of apologising?!
Posted 07 September 2007 - 08:00 AM
Yes. I saw it. It was excellent.
Posted 07 September 2007 - 01:52 PM
Alexandra, I’m sorry, I feel you’ve missed the point a little bit. I truly don’t think Mitchell was using Euripides’ chorus to make a point about women trapped inside a male world. (I think yes, she conveys that with Clytemnestra and you could surely never think she fudged that; I’ll never forget Katie Duchene standing there speechless and devastated as the wind kicks in.)
But the chorus were principally there to do what a chorus is always there to do: advance the story and reflect on it. They don’t, as you say, represent us. How do I know this? Well, the traditional Greek chorus wear masks, and we don’t. They also tend to shroud themselves in long robes and move in stylised, sychroncised swooping movements. Which we don’t do much either. So you can’t entirely criticise Mitchell’s chorus for behaving in ways that we don’t. I’ve never seen a chorus in a traditional production or otherwise behave conventionally. It’s fundamentally not their nature to do so.
With Iphigenia, Mitchell just came up with a concept for how the chorus element might possibly dovetail with the era in which her production was set, and I think she did that extremely resonantly, even offering a query – that I’d never personally entertained before - on what a chorus actually is and what it’s doing there in the first place.
And whether you like what she did with them or not, heaven forbid that anyone should deny that breathless starstruck groupies (as she made them) exist. That’s all these were; the 1930s versions thereof. Call it a stereotype, but overly-mannered God-fearing, proprietorial people who travel a long way to see their idols do volubly exist. Did you see some of the footage of people who came to pay homage to Diana last week? Did you hear what they said and see the way they moved? Working close to the Royal Albert Hall, where they hold the Women’s Institute AGM every year, I regularly see 5000 women just like those in Iphigenia come scuttling off their buses, wide-eyed and bumbling into one another at the end of their pilgrimage. Ditto when Cliff Richard tickets go on sale too. They’re doting, ditzy, discombobulated. This isn’t sexist, it’s not a demeaning slant on womanhood; some people are just like that. I think we’re all a bit like that at sometime or another. And in the presence of bionic heroes of a kind we just don’t remotely have in our day (Beckham is nothing on what Achilles was back then), who wouldn’t be? Okay, maybe not you, but I was totally swung by Mitchell’s suggestion that Agamemnon and his comrades were the pin-ups of their day, and the chorus vividly suggested just how they were received.
But I doubt this will change your view, this far down the line.
While we’re talking Troy, I suspect from the blurb that this production is going to be more dystopic / contemporary than Iphigenia; perhaps like the trappings we saw in the Donmar’s Hecuba. Regardless, I can’t wait. If it’s even half as good Iphigenia, for me it’ll be the best thing this year.
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