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Subject: "Superficial Allegiances"
From: Genevieve Castle Room <[log in to unmask]>
Reply-To:Genevieve Castle Room <[log in to unmask]>
Date:Fri, 23 Jun 2017 00:44:21 -0400

text/plain (42 lines)

Gary Tomlinson from Yale University wrote:

>"Of all our dramatic arts, opera demands the most of us. It asks us to
accept it as dramatic representation, to immerse ourselves in a sequence of
imitated actions far more specific and complex than those offered by the
gestural arts of dance or mime. Yet because it is sung it requires, if it
is to be taken seriously as drama, a leap of imagination longer than that
needed for spoken theater, a suspension of disbelief more uncompromising.
Perhaps this explains why opera is so often not taken seriously: we have
all encountered the superficial allegiances of opera buffs, their cults of
divas and heldentenors, and we all have also known people who on some
visceral and unselfconscious level reject altogether the notion of sung
drama. But difficulty in appreciating opera as serious drama is not the
burden of sycophants and the naïve alone. Instead we each contend with it,
reaching our own more or less uneasy compromises with the genre. We
struggle in some part of ourselves to restrain the skepticism that can
shatter the spell of its music drama. We strive to accommodate the breach
of verisimilitude inherent in its singing talk"


How do you interpret his comment?

The posturing of an academic? A sneer?

As far as make believe and realism in the theater, does anyone else think that
most of this guy's smart ass arguments are founded on a false conception of
reality *qua *naturalism and are therefore pseudo-problems?

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