The mid-Victorian era, also known as Grand Period, was full of interesting events and people. The Great Exhibition of 1851, usually referred to the Crystal Palace Exhibition, demonstrated the achievements in the world industry during the recent years. The size and richness of the exhibits impressed lots of people.
However, such prosperity was available not to every inhabitant. After the husband of Queen Victoria, the organizer of the exhibition, died, lots of changes took place within different spheres of life. One of the brightest events of that period was the creation of the Aesthetic Movement. This movement was created by a group of really talented people: artists, poets, actors, and writers. There is no concrete date of the birth of the Aesthetic Movement; however, its appearance is dated in the middle of the 19th century, between the 1870s and 1880s.
This movement had lots on common with French Symbolism or Italian Decadentismo. The main purpose of Aesthetes was to create a strong opposition to Victorian style. It was a kind of revulsion to what had been created during the Industrial Revolution. The best-known representatives of the Aesthetic Movement were Oscar Wilde, William Morris, Edgar Allan Poe, and James Abbot McNeil Whistler.
The Aesthetic Movement: Members and Their Principles
The Aesthetic Movement started as a reaction against the Victorian style, which was characterized by the use of jewellery in order to demonstrate the social status and the possibility to have only expensive and qualitative things.
William Morris, a British architect, was one of the first representatives of that movement, who started to disregard the Victorian preference of rich jewellery in favour of good craftsmanship and simple design. Morris tried to emphasize natural and not too expensive material. Usually it was stone, wood, and bricks of different size.
William Morris was born in London, in 1834. From his early childhood, he was really fond of reading. He could start reading anything that came on his way. His passion to Waverly novels and Arabian stories would certainly influence his future occupation. It is necessary to admit that Morris was not only an artist. He was also good at writing, furnishing, and designing. One of his best works was Tulip and Willow (1873).
The works of the Pre-Raphaelites also considerably influenced the Aesthetic Movement. Dante Gabriel Rossetti, William Holman Hunt, and Edward Burne Jones idealized the life of medieval times. Evelyn De Morgan was also one of the Pre-Raphaelite painters, whose works played a significant role in the history of the Aesthetic Movement.
She started painting at 15. She truly believed that our life was too short, and art would be always eternal, that is why she wanted to devote her life to art in order to make something useful and be remembered. In 1889, Evelyn De Morgan created Medea. The Aesthetes were admired that work, its freedom and naturalness.
There are so many representatives of the Aesthetic Movement, the works of which have considerably influenced the development of fashion during those times. “During the Aesthetic Movement, Americans realized that if they made their homes artful, they would make their lives better.” (Zukowski 7)
However, not only paintings and sculptures were inherent for the Aesthetic Movement. Les Fleurs du Mal, a volume of French poetry written by Charles Baudelaire, played a very important role to symbolist and aesthetic movements.
“The Poet is like this monarch of the clouds/ riding the storm above the marksman’s range/ exiled on the ground, hooted and jeered/ he cannot walk because of his great wings.” (Baudelaire 14) Baudelaire was a French poet and critic. He was born and dead in Paris, however, it does not matter that he spent his whole life in Paris only. He visited Brussels and Lyon in order to improve his knowledge and present really worthwhile projects.
Walter Pater and His Contributions
The Aesthetic Movement was dedicated to one of the most famous doctrines called ‘art for art’s sake’. It is a kind of art form, which is concerned with beauty only but not with some moral or social issues. The best representatives of this art were James McNeill Whistler, Walter Pater, and Oscar Wilde.
This slogan expressed a philosophy that concentrated on the values of true art. “Art-for-art’s-sake aesthetics have always implied that the artistic object is to be somehow elevated above any networks of signification, placed at an unreachable aesthetic distance, and then contemplated in its being.” (Nealon, 143)
Walter Pater was one of the best literary critics and novelist in the 19th century. He was born in Stepney, London, in 1839. In 1853, he was sent to Canterbury to study. This travel made an unbelievable impression on the writer, the beauty of cathedrals and religion supremacy influenced lots of his works.
His letters against Victorian moralism helped to revolutionize people’s thinking and comprehend that each person had the right of choice, and someone else could not impose such choice. Walter Pater created every work in a very complicated way.
He checked each word in his essays and chose only those elements, which he could easily analyze and explain to his readers. He tried to express the unique style, criticizing various works of art and explaining their essence and significance. Walter Pater had an unbelievable influence to his followers and young writers and painters of those times. His criticism was usually taken into consideration in order to improve future works and impress the society.
Oscar Wilde, one of the followers of Pater, was one of the most successful poets and writers of the Aesthetic Movement. This Irish writer and poet was born in Dublin. He was accused of indecent behaviour, his connections with men, and was expatriated to France, where spent the rest of his life using another name.
His The Importance of Being Earnest written in 1895 is still popular and appreciated by lots of people. “Though Wilde’s life reflected both the moral and amoral streams of the aesthetic movement, his art theory primarily repeated and emphasized the aesthetic theory of Swinburne, Pater, and Whistler.” (Adams 40)
Symbolism and the Aesthetic Movement
It is necessary to mention that the Aesthetic Movement had lots in common with another, not less known movement, Symbolism. The similarities of these two movements lied in the major characteristics of both the Aesthetic Movement and Symbolism.
The representatives of those movements preferred to use suggestions and descriptions rather that concrete statements in their work; the use of symbols was characterized for both styles; and the unbelievable connection between colors and words was inherent to those movements as well. These three major points easily prove the connection of the Aesthetic Movement and Symbolism.
The relation of Symbolism to the Aesthetic Movement is also evident because of the aims each of those movements tried to achieve – to engage the senses and make the beholder impressed as long as possible. However, it was impossible to reproduce the senses on paper or by means of sculptures or paintings, that is why the best decision was to use symbols and interpret them in different ways.
The best representatives of Symbolism were the works by a Swiss painter Arnold Böcklin (Isle of the Dead) or Edgar Allan Poe (The Poetic Principle). Arnold Böcklin travelled a lot in order to find interesting material foe his works. He was born in Germany, then visited Netherlands, Switzerland, France, and the last days of his life spent in Italy. This person was one the brightest representatives of Symbolism at the end of the 19th century.
Edgar Allan Poe was an American poet and writer, who influenced the development of the Aesthetic Movement as well. His works, his gloomy stories with unpredictable ends amazed readers.
He spend some time in Boston (where he was born), some time in Philadelphia (when he got married), and died in Baltimore, Maryland. The changes of surroundings, climate, and people – all this made a certain impact on the works of this author. However, these very works impressed the representatives of the Aesthetic Movement and gave a birth to it.
Conclusion
The Aesthetic Movement played a significant role in many spheres of life in the middle of the 19th century. The influences of Japan (Japonaiserie) and the Pre-Raphaelites Brotherhood (Pre-Raphaelite), the ideas of ‘art for art’s sake’, and Victorian style – these are the major reasons of the aims, the representatives of the Aesthetic Movement wanted to achieve.
People of different countries and art spheres joined the Aesthetic Movement in order to share their ideas and help people use simple things to make this life better and more interesting. Even nowadays, the works of Oscar Wilde and Edgar Allan Poe captivates numerous readers. This very fact proves that the tendencies chosen in the late 1870s and called the Aesthetic Movement were correct and just in time.
Reference List
Adams, Elsie, B. Bernard Shaw and the Aesthetes. Ohio State University Press, 1971.
Baudelaire, Charles and Howard, Richard. Les Fleurs du Mal. David R. Godine Publisher, 1983
Nealon, Jeffrey T. Double Reading: Postmodernism after Deconstruction. Cornell University Press, 1996.
Zukowski, Karen. Creating the Artful Home: The Aesthetic Movement. Gibbs Smith, 2006
The world of architecture is rich and amazing indeed, this is why it is always interesting to evaluate and investigate different aspects of design work. Each room and each building has its own purpose, function, and impact on a visitor. In this paper, one of the rooms in the Weisman Art Museum in Minnesota will be analyzed. The chosen building is located on 333 East River Road, Minneapolis[1].
It was designed by Canadian American architect Frank Gehry in 1993[2]. For a long period of time, this building is considered to be one of the major landmarks on campus, and its rooms contain much information about people’s history and achievements.
The interior of the Weisman Art Museum under consideration is rather conventional and attractive to the visitors. The main challenge of the room was to combine as much space as possible and add the required furniture to meet the expectations of the visitors. It was important to support the idea that it is the room of the museum where people should have a chance to observe innovations, share their opinions, and feel comfortable.
This is why, in the furnished room, the designer focuses on proper lighting, necessity for all subjects in the room to be available for the visitors, and possibility to take rest for people. The furnished room in the Weisman Art Museum is an example of how such elements like furnishing, lighting, color, and construction material should be considered in order to create a perfect image that deserves the right to be a part of art that influences human life.
Historical Introduction of the Room
In fig.1, it is possible to observe the room under analysis and define its main purposes and functions. Still, before talking about such aspects of the design, it is necessary to identify its historical worth and development. Each designer has his/her own ideas and imagination to introduce a new room or a new building to public.
The designer of the building is Frank Gehry[3], still, its patron is another person. The room is placed in the building created in honor of a famous Minneapolis art collector, Frederick R. Weisman who died in 1994. His contribution was great for American art as well as education, this is why it was necessary to recreate the rooms which underline the social and cultural situation of the country, the idea of stability and functionality.
In spite of the current competition, it is not always possible to admit the room and the place that worth certain attention and evaluation, still, there are several reasons of why some rooms of the Weisman Art Museum should be discussed.
First, it is a well-known fact that the director of the museum with its designer makes a decision to improve the design and spend several million dollars to achieve the best ideas. And another reason is the ways of how innovations are made as the museum’s representatives admit that museum’s original site should be narrowed to meet the expectations of visitors and meet the requirements set by modern times[4].
The evaluation of the room will help to understand what kind of innovations may be required and why the owners of the room as well as the building itself want to redecorate the construction.
It is interesting to define the weaknesses of the projects and introduce new ideas, this is why the chosen room seems to be a captivating subject for discussion from a pure artistic point of view as well as from some social or cultural perspectives. Design is the sphere that cannot accept too many changes at one place, and the room will be changed by the designer himself, so, it is a challenge to understand how changes should look like and whether all of them are appropriate.
Spatial Organization and Planning
The chosen furnished room is one of the central rooms in the building. Its peculiar feature is a number of doors (fig.2) which allow visitors pass through it any time in order to get another room. Still, it is necessary to underline that it is the room of an art museum; this is why its designer should consider the importance of functionality and accessibility.
Taking into consideration the spatial planning of the building those main objective is to encourage social communication, interactions between visitors, and participation in discussions, each room should have enough space for people to have some privacy as well as special space for discussions.
In other words, each visitor of the room should be provided with the required space in order the main purpose of visiting the museum can be met. In fact, the designer considers all aspects of the room and its purposes so that the chosen room fits into the spatial planning of the building perfectly.
There are several adjacent spaces of the room which are other gallery rooms of the museum. Its adjacent rooms are almost of the same space, still, the northern one is bigger than the chosen room (fir.3) due to its function to unite more rooms alongside the whole museum. Due to the position of the room in regard to other spaces in the building, its axes of approaches are parallel to other rooms. Approximate square of the room is 66m2 (regarding that its width is about 6 m and its length is about 11 m).
Certain attention should be paid to the space organized within the room. The point is that the main challenge for the designer was to consider proper lighting still introduce a unique form of the building. On the one hand, it seems that not all rooms are provided with the daylight; on the other hand, the image of the room in fig.1 proves that in the daytime, the room is properly lightened. It means that the space of the room is properly organized and used by the designer.
As it is the room in the museum, not much furniture may be observed in the room. As a rule, several benches are located in the west part of the room so that they may be observed from other rooms. Such simple still rather functional choice of furniture and use of space is justified by the owners of the museum as their main purpose is to satisfy the needs of the visitors.
Materials and Construction Methods
In the room under analysis as well as in other rooms of the building, the designer makes a decision to use square forms and 90-degree corners. There is no need to use some unique construction methods to amaze the visitor of the room and prove that the chosen room should be recognized among the rest.
What is needed is the idea that the room has its purpose – to be a guide for people and introduce new exhibitions, new ideas, and fresh approaches in the sphere of art. This is why its framing is quite simple what cannot be said about the content of the room. For a long period of time, Frank Gehry admits that his 47,000-square-foot museum is not finished, and the chosen stainless-steel forms should be improved with time[5].
Thought the chosen museum became popular due to its unbelievable exterior of irregular form, its interior also has its peculiarities and captivating elements. Each element of the room under consideration is a kind of a message from the designer who admits that this room is a unique one: its simplicity should not be regarded as weakness but as a chance to focus on other elements except its form.
The chosen interior of the Weisman Art Museum is rather conventional improved by white walls and geometric details of a ceiling that is partially made of glass. Such choice of ceiling construction is predetermined by a desire to reveal skylights which support natural lighting of the room.
Curvilinear slices one the ceiling and their absence on other elements of the room are also characterized by a particular purpose. For example, it is possible to believe that the designer wants to guide the visitor and shows that the walls of the room are already provided with some interesting details, informative works, and ideas for discussion. Still, it is impossible to exhibit something on the ceiling, this is why this part of the room has its own constant beauty – the connection to the nature, light, and air.
Another important element of the room is its floor. In comparison to the vast majority of buildings around, the designer of the building chooses blonde wood flooring. In addition to the already discussed natural lighting of the room, the idea to use natural wooden material for the floor is justified as it seems to be a good stimulus for the visitors to relax, focus on the exhibits, and evaluate the works offered.
In general, it is possible to say that the room chosen for the analysis contains a number of significant elements properly chosen by its designer in order to underline the main purpose of the room and provide people with the highest level of comfort.
Furnishings and Ornamentation
The design of the room in the Weisman Art Museum proves that the developers of this building do not find it obligatory to create rich and magnificent details inside. It is enough to introduce a mysterious exterior and choose appropriate interior regarding the functions and the peculiarities of each room. In the room under consideration, the designer does not want to focus attention on richness but, vice versa, he chooses simplicity as his key to success. This is why there is no need to search for some rich furnishing and ornamentation.
On the fig.1, it is clear that there is one small still rather elegant bench for visitors to take a rest. In fact, even the location of the bench in the room has its meaning.
The point is that this bench may be observed from different rooms and a person who in need of some rest will see an empty place for sitting. It is necessary to admit that the bench is made of wood still not similar to the one used on the floor. The bench is white, wooden; still, it is not a kind of continuation of the floor. It is another object in the room that should attract visitor’s attention.
The bench is located in the north-western part of the room so that it is lighted by the natural light due to the ceiling as well as the lamps in the building. More than 150,000 people visit the Weisman Art Museum annually[6], and the administration of the museum is able to evaluate how much place and benches are usually required for an exhibition.
Ornamentation is another element of the room that is always interesting to analyze. The point is that it is a museum where different exhibitions are introduced to public, this is why decorative objects are not constant in the room. As a rule, different paintings or art objects change each other in the room. In fig.1, the room with some painting exhibition is observed. The distance between each picture is almost the same that allows several people approach the image and spend several minutes evaluating it.
The designer cannot predict the colors of the pictures which can be placed on the walls, this is why his choice of white colors for walls, the floor, and ceiling may be based on a kind of uncertainty and the desire to create a room that will meet any subjects of any size. Considering such decision, each painting on the wall seems to take its own place as if the room was created to introduce a particular exhibition.
Functions and Signification
During the whole paper, it is mentioned that the chosen room is one of the rooms in the Weisman Art Museum, this is why its main function is to introduce exhibitions and encourage communication between the visitors of the museum.
In addition to the necessity to create appropriate conditions for exhibitions, this room may become a good example of how natural material may enrich the general view of the room. In spite of the fact that wooden floor, pure white walls, and natural lighting are used in the room, its image captivates and defines how powerful and unpredictable the nature can be.
It is hard to guess whether the functions of the room have been changed since the building was created in 1993, still, it is possible to guess that this room always performs the functions of an exhibitor. Of course, different paintings, subjects, and even furniture could be used in the room, still, its purpose is always the same – to provide a person with a chance to look at art and enjoy its beauty.
In addition to this function, it is possible to admit that this room also helps different people be closer to each other and understand each other’s needs. The patron of the museum, a person in honor on whom the museum was created, Mr. Weisman, wanted to unite people by means of art and destroy inequalities and fears inside of society.
This is why it is possible to believe that each room in such building performs the same functions to contribute to the sphere of art and create more possibilities for people’s communication. This room as well as the whole building is eager to meet a person from different part of the world and open the world of art.
Designer’s Sources and Inspiration
During the last decade, a number of exhibitions have been introduced in the museum[7] as well as in the room that is analyzed. For example, in 2003, the exhibition “In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King, Jr.” took place in the room. This American hero deserved the right to be remembered by society: more than 150 paintings and photographs have been introduced to the public.
Gary Chassman was the developer of the exhibition. He was assisted by Verve Editions and some representatives of the Smithsonian Institution. The Boss Foundation supported the Weisman Art Museum during that exhibition. A number of people gathered to remember the achievements of a genius and demonstrate personal respect to his activities. This room as other rooms in the museum was perfectly prepared by the designer for such event.
Thought the patron of the room did not impact the precedent chosen, it is possible to admit that his contribution to the development of the sphere of art should be considered as an important step by means of which art becomes available to people.
During almost one year, the exhibition “Who Is a Citizen? What Is Citizenship?” was available to the public in the room. With the help of such exhibition, a number of artists like Rockwell Kent were discovered. It is not an easy thing to answer the questions about citizenship by means of paintings, prints, and photographs, and this exhibition was another proof that there was nothing impossible for people. Only a desire and personal intentions have meaning.
Conclusion
In general, the furnished room in the Weisman Art Museum plays an important role in such spheres like art and design. Not many people are able to create a place where a number of exhibitions of different types may be organized.
Frank Gehry shows how simplicity, uniqueness, and care to each detail in the building may create a perfect room as well as a perfect museum. For a long period of time, this museum serves as a good example of how exhibitions should be organized, and the detailed explanation of the room makes it possible to understand what creates a good work and how this work should be perceived by the public.
Bibliography
Abbe, Mary. “Weisman Art Museum’s Expansion Begins: Frank Gehry Designed the Additions to His 1993 University of Minnesota Landmark, Scheduled for Completion in Two Years.” Online Posting. 2009. McClatchy – Tribune Business News. Web.
Bette, Hammel. “Frank Gehry Got His Wish to Expand the Weisman Art Museum.” Architectural Record 195.5 (2007).
Byars, Mel. “Gehry, Frank.” The Design Encyclopedia. (London: L. King Publishing, 2004) 259.
Drengi, Eric. Midwest Marvels: Roadside Attractions across Iowa, Minnesota, the Dakotas, and Wisconsin. (Minneapolis: University of Minnesota Press, 2006) 140.
Gardner-Hugget, Joanna. “WARM: A Feminist Art Collective in Minnesota.” Woman’s Art Journal 29.1. (2011). 64-67.
Map & Directions. Online Posting. 2010. Frederick R. Weisman Art Museum. Web.
Questions and Answers about the WAM Expansion and Campaign. Online Posting. 2010. Frederick R. Weisman Art Museum. Web.
Illustrations
Figure 1
Figure 2
Figure 3
Footnotes
Map & Directions. 2010: 1. Frederick R. Weisman Art Museum.
Drengi, Eric. Midwest Marvels: Roadside Attractions across Iowa, Minnesota, the Dakotas, and Wisconsin. (Minneapolis: University of Minnesota Press, 2006)140.
Byars, Mel. “Gehry, Frank.” The Design Encyclopedia. (London: L. King Publishing, 2004) 259.
Abbe, Mary. “Weisman Art Museum’s Expansion Begins: Frank Gehry Designed the Additions to His 1993 University of Minnesota Landmark, Scheduled for Completion in Two Years.” McClatchy – Tribune Business News.
Bette, Hammel. “Frank Gehry Got His Wish to Expand the Weisman Art Museum.” Architectural Record 195.5. 2007: 1.
Questions and Answers about the WAM Expansion and Campaign. 2010. Frederick R. Weisman Art Museum.
Gardner-Hugget, Joanna. “WARM: A Feminist Art Collective in Minnesota.” Woman’s Art Journal 29.1. 2011: 64.
A perfect specimen of postmodern vision of the world, the artworks by David Blackwood can be considered as a revelation in painting. Making the fantastic collide with the ordinary, the artist creates the specific vision of the world, suggesting the audience to share his ideas.
The very fact that his creation of 1980, Fire Down on the Labrador, has passed the time test and is still the object for admiration of millions of people, clearly shows that there is more to his pictures than meets the eye. The teasing irreality of the picture makes one peer deeper into the picture, trying to see the idea which led the author to creating this unusual and mysterious image.
In this “search for the pattern and meaning” (Leeuwen 35), it would be a good idea to take apart the picture into the ideas and images which come to one’s mind observing the masterpiece. Although some people tend to think that the thorough analysis can harm the perception of the picture, and, once taking it apart, one will never be able to make the pieces of the puzzle fall into their places, this is the very case when the analysis will do no harm, since the elements are as significant as the whole.
Casting a single glance at the picture is enough to understand that Blackwood dwells upon the marine theme. The troubled bluish sea and the outlines of the whale under the thick layer of water make one think of the vast ocean, wide as the entire Universe.
However, the ship that has caught fire breaks the silence of the ocean; the scarlet flames rising to the sky send the cries for help to the heavens above and shivers down the audience’s spines. Contrasted to the unruffled surface of the sea and the silent blocks of ice towering above the ocean, one can feel the trouble ringing in the air with his/her fingertips.
It seems that the whale which is floating under the dark thicket of the freezing sea embodies the suffering and the sorrow of the refugees from the ship. As well as those escaping from the ship, this ocean beast is being tortured by the fear within it; twisting and turning under the dark layers of water, it is curving in tortures.
What comes first to one’s mind when watching this picture closely is the scale of the elements in it. The shocking size of the whale, opposed to the tiny boat of the bunch of the sailors, is supposed to express the artist’s point if view. Making the survivors almost invisible compared to the whale, Blackwood creates the vision of the blind force which nature is for people, and makes it clear that, even when in pain – or is it better to say, especially when in pain? – it can toss away the feeble mankind with all its pathetic inventions.
Another idea which the picture raises is the eternal conflict of the incompatible. It seems that there is nothing as contrasting to each other as water and fire. Combined in a single picture and intertwined with the single plot, the two elements go wild in their fury, storming the nature into a rage as well.
However, there are two more elements in the picture which collide in a softer way. The sky and the ocean, both pitch-dark with the sparks of hope in them, both inviting and frightening, they mix into a fascinating vision. The few stars in the sky, lightening the way of the survivors, are so similar to the tiny bubbles rising from the depth of the ocean onto its surface; the former embodying hope, the latter meaning its loss, they create an incredible combination which makes one think of the frailty of human’s life and the secrets of the nature.
With help of the specific details and the thought-provoking legend of the picture, Blackwood created a masterpiece of all times. Though time passed, his work is still topical as ever. That is, perhaps, the best way to prove that real art never dies.
Works Cited
Leeuwen, Theo Van and Carey Jewitt. Handbook of Visual Analysis. Thousand Oaks, CA: SAGE, 2001. Print.
Francis Ford Coppola’s The Godfather is a movie that tried to reinvent the way a gangster movie should be made. It did not focus on the criminal aspect of the gangster’s life. Instead, the focus is on the person, the personal conflicts and the decision-making process.
Coppola wanted the audience to understand that the gangsters in the movie did not enjoy life as a criminal, they were simply forced to do a life of crime because of their love for their family. This means that the characters in the movie did everything they had to do for the sake of family.
Scene 1
The opening scene is a close-up shot of a middle-aged man. Partially illuminating only the face of this character and leaving the rest of the scene in shadow, the filmmaker focuses spectators’ attention on the speaker and creates the atmosphere of intimacy and secrecy.
Hiding the source of lighting as well as the details of the background, Coppola reveals the atmosphere of conspiracy surrounding the depicted dialogue. Close-up shot, half-darkness and peculiarities of mise-en-scene produce the impression that the spectators can see the man through the eyes of Don Corleone, his interlocutor and the only person present at this conversation.
The chosen film techniques produce a dramatic effect of initiating the audience into one of mafia’s secrets. The audience is riveted because the emotions projected on screen are so intense. The impressions from the scene under consideration and the dramatic dialogue are intensified through implementation of appropriate filmmaking techniques creating the atmosphere of conspiracy which does not allow to turn on the lights even though the interlocutors are alone.
Scene 2
There is another scene in the movie that will help understand the role of film techniques in revealing the core message of the story. In this scene the stageing and composition were crucial for conveying what the director tries to express (Rabiger, p.10).
In this particular scene the audience can see a mid shot of Michael Corleone. The lighting was bright because the scene is supposed to be upbeat. The shot was made in the midst of a wedding party. The staging is important because it shows that Michael Corleone is part of the group but at the same time he is an outsider.
The mid shot allows the audience to see that he is wearing a uniform. His uniform contrasts sharply with the other people at the party. The uniform shows that Michael Corleone is a man of strength and authority because he is the only soldier in the midst of civilians. Although there is a party going on, Michael Corleone seems to look out of place. Nevertheless, he forces himself to be there for the sake of his family.
Thus, analyzing the choice of lighting, mise-en-scene and background of this shot, it can be stated that in this case the film techniques are used by Coppola for showing the contrast between the character and the people surrounding him as well as the surrounding atmosphere of wedding and his personal feelings.
Scene 3
The third scene in which film techniques help convey the core message of the movie is the one wherein the male members of the Corleone family are talking about the effect of the assassination attempt sponsored by the rival families. It is a mid shot that shows the interaction between the family members.
The low-key lighting creates a somber mood because the characters are dealing with a family crisis. Michael Corleone is part of the group. The low-key lighting allow the audience to see the dramatic change in his demeanor, especially when he volunteered to be involved in the affairs of the crime syndicate and murder a man to avenge his father. Like in the first scene under analysis, the lack of lighting produces the effect of conspiracy of the depicted meeting and initiation of the audience into the family secret plans.
The choice of mise-en-scene depicting all the participants of the meeting at the same time but focusing on Michael for demonstrating the changes in his face expressions depict him as a part of the whole family, a true Corleone who decides to act according to their family principles.
Scene 4
In the middle-part of the movie there is a scene where Michael Corleone is in exile. The chosen wide shot allows the camera to show the scene in a full frame. This type of camera shot is used to reveal the setting and the difference between the characters in the frame. One is Michael Corleone who is a foreigner and therefore his clothes differ from the costumes of the two locals who are his bodyguards.
The bright lighting of the scene is used for showing not only the time of the day but also the inner feelings of the main character at the same time. The light reveals the changes in Michael’s mood after his depression as he manages to get accustomed to his environment.
Taking into account that in the following episodes Michael falls in love and gets married, the lighting of this scene can be regarded as preparation of the audience for the following events. Thus, it can be stated that Coppola uses film techniques for not only intensifying the effect of particular scene, but also changing the spectators’ perception of following episodes.
Conclusion
The use of setting, lighting, close up and mid shots tells the story of the characters from a more personal and intense point of view. The lighting which is usually low-key help produce a more somber mood. This is needed to show how the characters struggled with the challenges of life.
However, it is clear that the director is trying to show how conflicted the characters were and the only thing that they really believe in is family. The director succeeded in showing that love for family is the reason why people are forced to do things that are against the law or even against their will.
Works Cited
Rabiger, Michael. Directing: Film Techniques and Aesthetics. Oxford: Focal Press, 2008.
The first decades of the twentieth century became the era of significant changes and experiments in different fields of social life. Controversial political processes, revolutionary mood, struggle for the rights of different social groups, significant scientific discoveries, reforms; finally, the World War I – the changes took place at different levels, from the supreme power of states, to the world-view of an average individual. Not unexpectedly, the dynamic spirit of the time found its incarnation in art.
Literature, visual arts, theater, music, architecture became the field for bold innovations and experiments. Always fulfilling the role of a mirror that reflects the spirit of an epoch, art demonstrated the anxiety and at the same time aspiration for breaking the borders that prevailed in the society. Music did not become an exception: composers who worked during the first decades of the twentieth century experimented with musical form, tonality, sound, instruments, the way of performing musical works.
Taking the legacy of the previous centuries as the background at the starting points, composers find new approaches and devices of expressing their ideas. Béla Bartók is one of the brightest composers of the first half of the twentieth century. His works are considered the gem of Hungarian musical legacy. Bartók is one of the composers whose works possess characteristics of Expressionism in music.
Particularly, Bartók’s Bluebeard’s Castle (1911) demonstrates certain influence of Expressionist tendencies in music (Hailey, p.103). Bartók’s famous opera is innovative and experimental in different aspects, which makes it of particular interest for musical theorists and critics. In this essay, the role of orchestra in Bartók’s Bluebeard’s Castle is discussed from the perspective of the plot of the opera and of from that of musical conjuncture of the discussed period.
Expressionism is a cultural movement that was widespread during the first decades of the twentieth century. The first wave of Expressionist art belongs to Germany; however, Expressionist traits can be found in the works of artists from different countries of Europe (Lee, 2008, p.14).
Expressionism in music, as well as in other kinds of art, implied shift from outer to inner, from simple narration to expression of one’s thoughts, sensations and emotions. Greenberg says, the purpose of a work of art that belongs to the Expressionist tradition is not just “to express ideas and notions, but to express with greater immediacy sensations, the irreducible element of experience” (cited in Hailey, p.105).
Thus, Expressionist traits give an artist opportunity to expand his/her focus, look beyond the external side of the events and look deeper into the action. With a short, but neat quotation, Lee summarises this peculiarity of Expressionism, “Expressionist artists want to show us how they feel about what they see” (Lee, p.14).
All discussed above makes it possible for Bartók to use orchestra as the device of reaching the main purpose of Bluebeard’s Castle, which is description. As a rule, the focus of an opera written in the classical style is story-telling. It narrates a dynamic story with an impressive plot, saturated with conflicts and events.
In this case, orchestra is the device that illustrates the story and expresses the dynamics of the plot. Interacting with the vocal parts, it helps a viewer to visualise the story. However, Bartók’s opera has its significant peculiarities: it does not have dynamic plot saturated with events; instead, it focuses on description. The story takes place inside Bluebeard’s castle, and there are only two main characters whose interaction we observe during the whole opera.
The idea of the story itself predetermines the importance of description for Bluebeard’s Castle: a viewer is offered to get familiarised with the mysterious interiors behind seven doors of the castle. Thus, the role of the orchestra in the opera is to help a viewer imagine what is hidden behind each of the doors.
This idea entirely fits the peculiarity of Expressionism in music, “…The narrative of musical Expressionism has always been more descriptive convenience than historical reportage, an evocation of a syntax that is distorted, violent, or emotionally tortured”, states Hailey (p. 104).
Considering the specifics of the plot of Bluebeard’s Castle, the purpose the composer sets is to draw by means of the sound, not just narrate. Instead of illustrating a pursuit, an intimate conversation, a ball, Bartók has to describe flowers, green fields, the lake of tears.
Considering the influence of the Expressionist movement, this is not unexpected: Hailey emphasises that one of the brightest characteristics of art that dates to the first decades of the twentieth century is the aspiration of visual arts, literature and music for imitation of each other’s functions (p.105).
This makes the composer experiment with tonality, harmonies, orchestral parts, loudness, tempo – using these devices is analogical to mixing paints on the palette; it is quite common for the works belonging to the movement of musical Expressionism.
It is possible to notice that during the first minutes of the opera, the orchestral parts are not so bright and expressive: the focus is on the vocal parts of Bluebeard and Judith. This is not accidentally: the opening scene of the opera does not include either significant events of the plot or the issues that require bright description.
The role of the orchestra decreases in the course of the story, which “corroborates” the statement about its “descriptive function” in Bluebeard’s Castle. During the Doors scenes, the role of the orchestra is equal to that of the vocalists, and sometime even dominating.
At the same time, considering the Expressionist traits of the opera, it is reasonable to state that the description is focused not on the outer world, but on that inner. Seven doors are described not just from the perspective of their appearance and the subjects placed in them, but from the perspective of Judith’s feelings. The aim of the orchestra is to depict the chambers behind seven doors as they are perceived by a woman who is in love with a “monster” hated and abandoned by people.
Each time Judith crosses the threshold of the next chamber, she aspires for seeing something that will remove her doubts and calm her soul; however, each door leads her close to disappointment and fear: she learns more and more frightening things about Bluebeard. A listener may easily notice this focus on the inner world of the character when listening to the Doors scenes.
For example, when Judith opens the Door 4, she sees a garden full of wonderful flowers; with the help of the orchestra, Bartók helps a listener to imagine the view she sees. On the one hand, the interaction of the orchestral parts creates the picture of blossoming flowers; it is even possible to hear the trills imitating birds’ singing. On the other hand, the orchestra sounds in accordance with Judith emotions: when she sees the flowers, she is excited, but her anxiety does not disappear, and she observes the landscape eagerly and attentively.
Balancing on the border of tonality and atonality, avoiding traditional and stable harmonic constructions, the orchestra depicts the garden that associates with the inner fear rather than with the beauty of the flowers. The orchestra also expressively depicts the moment when Judith notices blood on the flowers. It is remarkable that in this scene, the role of the orchestra is more significant than that of the vocal part: the instruments express Judith’s emotions, and then she only supports them vocally.
One of the brightest moments of the opera is the Door 7 scene where Judith joins the number of Bluebeard’s imprisoned wives. The sound of the orchestra is the most tense and expressive; it depicts the final point of the story, the point of no return for Judith. At the same time, it is interesting that in the very end of the scene, this tension decreases: the opera does not finish with a dramatic note; the orchestra “calms down” and thus demonstrates that Judith submits to her destiny and accepts it.
At the same time, it is remarkable that some critics argue that the opera also depicts the inner world of Bluebeard himself. Particularly, the cold and terrifying castle with the mysterious doors is a symbol of Bluebeard’s soul, “Bluebeard’s human attributes are thereby transferred to the castle, which becomes implicitly identified with its owner” (Leafstedt, p.126).
The orchestra also helps to emphasise the circular scheme of the opera. Frigyesi sees the “metaphor of a circle” in the Bluebeard’s Castle (cited in Bayley, p.71); first of all, it is predetermined by the plot of the opera.
A viewer may notice that Judith fulfills the same action seven times, and each time, her emotions change according to the same scheme: at first, she is interested about what she will see behind the door; the next moment, she is amazed and excited; then, she is frightened and disappointed with the picture she has just seen; finally, she falls into the depressive mood and fear after learning a new terrible fact about her beloved man.
Not accidentally, the orchestral parts also follow this scheme: its dynamics varies in accordance with evolution of Judith’s feelings: for example, if a listener will focus on the Door 4 scene, he/she will first hear the orchestra sounding tense, mysterious; then, the sound is “blossoming out” when Judith sees the garden with flowers, and the orchestra depicts her excitement; however, everything changes very quickly when she notices blood on the flowers: the orchestra illustrates her fear and amazement; finally, the dynamics of the orchestra diminishes, and we again see Judith depressed and disquieted.
Thus, working within the framework of musical Expressionism, Bartók uses the orchestra to depict the inner world of the character and her emotions. Considering the peculiarity of the opera plot, the orchestra serves as the main device for Bartók to depict the places hidden beyond seven doors of the castle.
However, the composer provides not an objective, “outer” depiction, but that from the perspective of Judith, the protagonist of the opera. The orchestra also helps to outline the circular scheme of the opera that corresponds to the peculiarities of its plot. These shifts and such original approach chosen by Bartók makes Bluebeard’s Castle an outstanding musical work, interesting for critics and admired by listeners and viewers.
References
Bayley, A, The Cambridge companion to Bartók, Cambridge, U.K.; New York, Cambridge University Press, 2001.
Hailey, C, ‘Musical Expressionism: the search for autonomy’ in Behr, S, D Fanning & D Jarman, Expressionism reassessed, Manchester; New York, Manchester University Press, 1993, pp. 103-111.
Leafstedt, C, ‘Bluebeard as theater: the influence of Maeterlinck and Hebbel on Balazs’s Bluebeard drama’ in Laki, P., Bartók and His World, Princeton, NJ, Princeton Univ. Press, 1995, pp.119-147.
Lee, D, Art dictionary, Gallo Manor, South Africa, Awareness Pub, 2008.
There are various forms of visual art and these have undergone various forms of developments in the past. These forms of visual art perform various functions to the society. This paper looks at three articles on the development of various forms of visual art and the various perspectives reflected in the articles.
In Modernist Painting, Greenberg addresses the importance of modernism and culture in art. He states that purpose of modernism is to improve a given discipline and in so doing, it should address all aspects of culture (Para. 1 & 2). He argues that in old days, the people used art “to conceal art” while “modernism used art to call attention to art” (Para. 7).
The artists in modernism openly acknowledged the limitations that constituted the medium of painting and regarded them as positive factors while the old masters considered them as negative factors. He also addresses the issue of flatness of the painting surface. He argues that this was the only attribute that pictorial art did not share with other forms of art.
As a result, modernist painting committed itself to flatness because it was its only unique attribute. Modernist painting is naturalistic and attached to other forms of art, especially sculpture, and culture. This makes it firmly attached to tradition (Para. 11). Greenberg asserts that modernism is just an evolution of tradition and that modernist painting and art at large is “carried out in much the same way as before” (Para. 18). It is a continuation from the past without a break making it connected to the past.
Alloway Lawrence’s article The Arts and the Mass Media addresses the issues of population growth in relation to art. Increase in population led to increased industrialization thus changing the world.
One of the remarkable achievements of the industrial society is the development of mass arts (Para. 5). After World War II, art became highly flexible even though traditional ideas in art persisted (Para. 2). The masses got involved in shaping the state and standards of art as opposed to the small group of elites there before. In this article, Lawrence says, “mass art is urban and democratic” (Para. 2).
He also argues that mass arts are not purely academic, as most critics believe. Instead, they are anti-academic especially in style, technique and iconography (Para. 5). Mass arts reach a large audience and hence affect the culture of this audience. In reality, the mass arts have become part of the culture (Para. 9). Lawrence also argues that the development of mass art is rapid. The rapid change in technology aggravates this rapid growth of mass art.
On the other hand, Leo Steinberg in his article Flatbed Picture plane gives and explanation of the development of Picture painting on surfaces.
He uses the word flatbed picture plane to give a description of “the picture plane of the 1960s – pictorial surface whose angulation with respect to the human posture is the precondition of its changed content” (Para. 1).He explains the transformations the printing surface has undergone from the time of renaissance to the modernist printing. In old times, printings were in upright state. This changed at around 1950.
There was a change away from the head to toe correspondence with the human posture (Para. 4). According to Steinberg, “it is not the physical placement of the image that counts” (Para. 5). He likens the shift of the picture plane from vertical to horizontal as an expression of the shift of the subject matter from nature to culture. He argued that the change in picture plane in post-Modernist printing has made art “non-linear and unpredictable” (Para.19).
The three pierces are addressing the changes that have taken place in various forms of visual arts. Each writer tackles a specific form of visual art. Greenberg tackles Modernist painting; Steinberg deals with picture planes while Lawrence handles arts and mass media. They differ in the way they perceive changes to these forms of art in the modernist era. They also differ in the way they view culture and art.
The three writers agree that there has been change to the way artists present various forms of visual art. They agree that tradition has played a great role and continue to shape these forms of art (Lawrence, Para. 2; Greenberg, Para. 18; Steinberg, Para. 20). They also agree that these visual arts perform both academic and non-academic functions. Even though Lawrence and Greenberg consider these changes to be positive, Steinberg considers the changes to be negative and disturbing the purity of art (Steinberg, Para. 20).
In conclusion, as society changes, the various forms of art also change. The change may be gradual or rapid. Culture has an effect on art and some forms of art, like mass media art, have an influence on culture. Even though art undergoes changes, tradition still plays an important role in the various forms of art. This is because art continues without a break making it always connected to the past.
Nearly everything in this world has a meaning; the same applies to art. Art being a sensitive term, several individuals have come up with different techniques of defining art. Each of these individuals has had his own perception and explanations concerning the definition of art. With regard to this, there isn’t a universally accepted definition for art.
Most of these individuals define the term referring to certain concepts that are usually considered as main terns such as beauty and aesthetic. Art may be said to be an object that has beauty. Some individuals may also refer to it as some kind of proficiency that usually leads to something with an aesthetic value. The artistic activity however requires a great skill of creativity to the individual who per takes it. This manuscript will concentrate on the different ways to approach the definition of art.
Art has been described to be very global thus it encompasses a wide range of concepts in finding its definition. Techniques to approach the meaning of art have greatly been linked with time. To begin with, the classical meaning of art greatly emphasizes on not only skills but also craft. Skills and craft may be said to be the main activities entailed in art.
Through this way art may be defined as a final artifact of a high level of knowledge usually referring to the proficiency. Therefore the ancient painters as well as sculptors were perceived to be purely highly expertise and skilled artisans (Young 17).
Art may be defined basing on the purpose of the end product that comes from the actual activity. In fine work, the products resulting from the great skill are created for an aesthetic purpose. Therefore other than the definition of art being related to the great skills of the artisan, the aesthetic value of the resulting product gives art another definition (Lamarque & Haugom 24). Thus art refers to a final product with a high aesthetic value.
On adding up on this, the function or rather the significance of the attractive product imparts another kind of definition to art. The functional capability of the product made it possible for categorization of art into fine and applied art. Aesthetic value thus remained the main concern in defining art especially for fine art.
Art may also have a new definition regarding the propagation of new styles plus other artistic techniques. Art at this stage has a broader meaning as the artists have a wide range of techniques to employ in there paintings. Art may also be defined basing on the various art forms such as assemblage, fixing, video as well as presentation.
Art may as well be defined basing on features such as graffiti in painting. Art may further gain its definition with special emphasis on the type of work produced during the presentation of the artistic skill. The experience gained by the viewers of the skill being presented contributes a lot to defining art (Cormack 15).
With regard to the several perspectives from individuals, one emerged with a definition that covered the work, artistic events plus the aesthetic value of art or rather all the techniques required in defining art.
The definition stated art as a product that is produced when an artist makes an attractive and beautiful item or rather reveals a motivating and interesting experience which is well thought of by the audience watching to be having an implication of one having an artistic talent. Therefore art can be approached in several ways when looking at its definition.
Works Cited
Cormack, Robin. Byzantine art. Oxford: Oxford university press, 2000. Print
Lamarque, Peter, and Haugom, Stein. Aesthetics and the philosophy of art: the analytic tradition: an anthology. Cornwall: Blackwell, 2004. Print
Young, James. Aesthetics: Aesthetic theory. NY: New York: Routledge Publishing house Ltd. 2005. Print
According to Goggin, the Nunsense story begun in 1953 and mainly was dramatized around songs and scenes as laid down by Dan Goggin. Back then, the storyline evolved around a group of nurses that had been poisoned by their cook in an accidental manner (Goggin, np). The story line at that time consisted of three nuns and a priest, and was cast in Duplex on Grove Street in Greenwich Village for thirty eight weeks. After the cast the audience begun to grow and thus Dan Goggin had to occasionally change the cast of the story (Wilmeth, 488).
Chief characters and the actors that played the roles
According to Tamswitmark (np) the chief characters in the story are:
The Reverend Mother
The reverend mother is known as Sister Mary Regina and is assumed to have answered the call to be a nun after a tightrope accident. In real life, she is known as LaDonna Wilson.
Sister Mary Paul Amnesia
She is a teacher at The Little Sisters of Hoboken convent, and is very fond of plants. She shows this fondness through reading and dancing for the plants. In the real world, her names are Cecilee Von Rhea and she is a second year student at Parklands College majoring in theatre
Sister Hubert
This sister longed to become the first ever gospel singing pole Dancer and is apprehended by the authorities before she can execute her plans. She is also serving in the Order as Mistress of Novices, and training new recruits. She goes by the name Sherrika Ellison in the real world. Presently, she is a renowned singer.
Sister Leo
Sister Leo was so happy to have been allowed to dance and her main role at the convent is to instruct on dance. Her real name is Ariella Cohen and she is a sophomore studying Theater.
Sister Robert Ann
In the play, Sister Robert is known as the valedictorian of her class. In the real world, her actual name is Stevie Schein. Stevie is famous for her research in the child growth and development area.
Father Virgil Manly Trott
Father vigil is a character that goes to the convent with songs and laughter. In the actual world, Father Virgil Manly Trott and Sister Mary Leo are related.
The place of events
The events of the Nunsense Christmas Musical are basically known to have occurred in a basement. This basement was typically owned by a catholic convent that was known as Mount Saint Helen’s Convent. It is for this reason that this play features mainly catholic sisters and a catholic Father. It is the first of its kind and involves both audio and video production set up through the moneys of the prize that Sister Mary Paul had won. This studio has television screens and live camera to give the audience the feeling of actually being present in a real recording television studio even though they are not.
The Plot
The Nunsense Christmas Musical show is known to be an annual Christmas program that has been set for performance at the Mount Saint Helen’s. As earlier stated in details, the actors include characters of different societal status. The main characters in this play are Father Virgil Trott who is related with Sister Leo in that they share the same mothe.
There is also the Reverend Mother who goes by the name Regina, Sister Mary Paul, Sister Anne and Sister Mary. There are also two boys and two young girls. The two boys and the two girls are all students from Mount Saint Helen’s (Tamswitmark, np).
Act one begins with the rousing song ‘Christmas Time Is Nunsense Time’ where the above actors are presented to the audience. Also, during this time of introduction, we are made aware of the things that have previously been taking place in each of the cast’s past.
The act then smoothly moves on to bring out a ballet type of the original Nutcracker. However, this does not become the case for before the sister enters the stage, she suffers an accident when she is hit on the shin by a baton. This presents a dilemma for the Reverend Mother as the ballet cannot be performed.
However, for the show to proceed, Sister Amnesia goes ahead and distracts the audience with a Santa Claus cut-out as things are sorted out. At this time, the audience receives various presents while everyone sings in harmony ‘We Wish You a Merry Christmas’.
When this is over, students join together with the actors and their voices bend together as they sing the song I’M Santa’s Little Teapot. After the students are through with this song, Sister Mary surprises the audience when she stands up to sing the song, ‘Twelve Days Prior to Christmas.’
There is more trouble when it is brought to light that there has been a burglary and the gifts that had been placed beneath the Christmas tree have been pilfered (Tamswitmark, np).
This forces an abrupt exit of the Reverent Mother so that she can proceed with investigations. She leaves Father Virgil to carry on and he does not disappoint the eager audience. He entertains the audience with an emotional ballad called ‘The Christmas Box.’ This exceptional ballad had been composed by him specifically for his sister Mary Leo. When Father Virgil Manly Trott finishes his ballad, he brings to the audience Sister Amnesia who in turn sings her latest country hit known as ‘Santa Ain’t Comin to Our House’ (Tamswitmark, np).
After Sister Amnesia is done with her song, the Reverend Mother enters with moving stories of the years she spent in the circus. In her stories, the reverend mother has a flashback of a winter storm that trapped in a hotel room while they were with Sophie Tucker. When the Reverend Mother is done, to the amusement of the audience, and as everyone claps and responds to the melody, she begins singing the song An Old Time Carnival Christmas.
The response from the audience urges her on and on until she is done. After her, was supposed to enter sister Julia. However, there is further confusion as Sister Julia, who is also the convent cook, and who is supposed to perform does not show up for her performance. This in turn forces Father Virgil Manly Trott to practically impersonate Sister Julia. The father tries to demonstrate to the audience some Christmas cooking styles just as Sister Julia would have done. (Tamswitmark, np).
The ballet that was supposed to be performed at the beginning by Sister Mary Leo is still yet to be performed up to now and as earlier stated, the Reverend Mother had been looking for a solution to the problem. However, little does she know that the solution she has arrived at in regard to the ballet problem is the same solution that Father Virgil Manly Trott has also arrived at.
Therefore, they clash on stage to the amusement of the audience as each tries out the similar solution. This marks the end of act one when both the Reverend Mother and Father Virgil Manly unconsciously join in a ballet as Sugar Plum Fairies.
Act Two commences with the song ‘Three Hundred and Sixty Four Days’ that highlights the problems with doing last minute shopping sprees. After this, there is a performance on the ‘Living Nativity’ that features Sister Robert Anne with the Students, who sing a ballad entitled ‘Jesus Was Born in Brooklyn.’
In this ballad, Sister Robert Anne tries to remember the activities surrounding a time when her father had returned home on Christmas Eve. The popular Christmas carol ‘O Come All Ye Faithful’ is intertwined throughout this performance (Tamswitmark, np).
The performances progress without any major ado apart from the interruption from the sisters who are trying to find out the fate of the missing gifts. This however, does not interfere with the ongoing performances which progress smoothly. The Reverend Mother joins in with Sister Mary Hubert to sing a duet entitled ‘In the Convent’, after which the Saint Andrews Sisters come in a big way to present’ We Three Kings of Orient Are Us.
After their captivating performance that left the audience longing for more, it is time for mother Superior to come on stage and everyone wonders what she has in store. However, their suspense is quelled when Mother Superior unleashes a Catholic Home Shopping Service. Through this service, Mother Superior ensures that the audience are entertained to very unusual items in the name of the Christmas Spirit. (Tamswitmark, np).
The police are finally called in and the Reverend Mother is summoned upstairs to speak with them over the missing gifts and while she is gone, Sister Robert Anne entertains the audience with her song, All I Want for Christmas and after she is through, every one joins to sing out the familiar Christmas Carol tunes.
As the curtains are about to fall, it is discovered that the missing gifts were not in the actual sense stolen but had been donated to a poor family by Sister Mary Amnesia. This truth brings in a sense of guilt to the sisters who upon realizing how selfish their actions had been, allow Sister Hubert to lead in a foot stumping and hand clapping song, ‘Its Better to Give Than to Receive’. This marks the end of the show (Tamswitmark, np).
It is important to note that his show also entails traditional carols and Christmas carol spoofs. It is also filled with humor just like its three predecessors and lives to uphold its Nunsense name (Tamswitmark, np).
Why The Nuncracker is a play about Christmas
For any play to be successful, it has to be as lifelike as possible. The audience has to be immersed in it to the point that the action on the stage becomes real, and their own lives recede into a distant nebulous, at least until they are released from the web of action that the drama unfolding embroils them in.
Directors and producers use different elements of drama to achieve this; from the speech of the actors, to their gestures, the costumes they wear, and the props used on stage to create an atmosphere.
Imagine The Nuncracker with the cast all wearing industrial overalls and acacia trees painted in the background. All the while, the Sisters bellow jolly Christmas carols and wish each other good cheer. It would not be half as capturing.
In the production of The Nuncracker, the costumes and the settings are very important to relay the message that the play is centered on Christmas. The gifts under the Christmas tree, the lights strung about, the carols that are performed continuously through out the play are constant indicators of the season, and reinforces it in the mind of the audience.
The setting of the play is during the Christmas season and the actions taking place in the play center around the various activities and misfortunes that can happen during the Christmas season. Christmas gifts go missing and it is later discovered that they have been donated to a poor family. From the beginning of this play until its conclusion, we are entertained with ballets, Christmas carols and actions pointing towards the Christmas spirit.
The primary conflict and its resolution
Even though there are many conflicts in the play, the main conflict that carries out in the whole setting of the play is of the missing gifts. The had disappeared during the beginning of scene one after the audience gets wind that they are not under the Christmas tree in the convent and the sisters presume that they have been stolen. The Reverend mother goes on to investigate and at a point in time, the police are called in to help and solve the mystery of the missing gifts.
This mystery is not resolved until towards the end of the play when it is discovered that the missing gifts were donated to a poor family by Sister Mary Amnesia. This truth makes the sisters guilty at how selfish they had been. To try and alleviate their guilt, these sisters give way for Sister Hubert to lead the audience in singing a song entitled, ‘It’s Better to Give than to Receive.
Sub-plots and their reflection on the main theme
The Christmas holiday was the main theme of the play. However, there exists more than one sub-plot in the play. First, even before the play begins, there is the sub-plot featuring the events surrounding Sister Mary Leo. She is meant to make a ballet presentation in the class of the original Nuncracker but can not do so due to the accident with a baton. This first dilemma reflects the uncertain aspects of the Christmas period and the need for preparedness for any eventualities that might arise during the Christmas holidays.
There is also the sub-plot of the missing cook. When the cook at the convent, Sister Julia does not show up for her performance, Father Virgil Manly Trott impersonates her and tries to show to the audience some Christmas cooking styles just as Sister Julia would have done. He does this by demonstrating various types of Christmas cooking. This sub-plot reflects on the main theme by emphasizing its type of celebration mood (Tamswitmark, np).
Then there is the mystery of the missing gifts. This plays out to the end of the story when it is discovered that the gifts believed to have been stolen had been handed over to a poor family. This brings out the need for compassion and sharing during the Christmas holidays.
It should be noted that all these event point to the fact that the play is a comedy; things go wrong in some instances, but there is laughter as well as comebacks that means in the end no one is the worse for wear after the frequent mishaps.
Production Style
The Play is well articulated and well styled to ensure that the audience is captivated and their attention grasped from the beginning to the end. The use of stories, songs and drama are well harmonized to ensure that the intended message is passed to the audience. The actors also display a good use of the stage and emotions to portray their characters and pass their message (Nunsense, np).
The use of personification by the Father Virgil Manly Trott is an indication of the character of a character within that of a different character, and the audience seems to love this form of personification. The actors smoothly change scenes to ensure that there are no unnecessary breaks within the play.
The directors of the play knew what they wanted to achieve. They thus ensure that the songs are harmonized with the events occurring during the play and that the actors are relevant to the general mood of the audience. The scene design is in such a manner as to give the audience the sense of being involved in a Christmas activity.
The stage is set in such a manner as to depict Christmas and the costumes of the nuns and the father are also designed to bring the real nature of a convent. This is for the designers to make the story as real to the audience as possible. There are lighting effects to depict the main theme of Christmas and the music, which is mostly Christmas Carole, varies to the occasion and at times is used to create moods such as anxiety and tension within the audience (Indianapolis Monthly, 100).
An attribute of this play that is widely recognized is its demolition, pun intended, of the traditional ‘Fourth Wall’ (Wilmeth, 114). In the play The Nuncracker, the cast has instances of direct rapport with the audience, engaging them in conversation as if they were actually expected to respond to the rhetoric questions. I am of the opinion that the many Christmas carols in the play help break the ‘Fourth Wall’.
This is because most of these carols are very familiar to the audience and when performed by members of the cast may inspire the audience to join in. thus, it no longer remains a performer singing alone on the stage as with any other musical piece for the embellishment of the drama, but a direct communication between the performer and his/her audience.
Again, at the beginning of the play, a sign on the stage welcomes the audience to the basement theatre of the Sisters of St. Helen, with video cameras in place, giving the appearance that the audience is actually watching the filming of the play. This means that in extension, the audience is part of the play.
One element of theatre that is greatly utilized in this show is the use of costume. The basic costumes for the nuns are their habits-the ubiquitous black and white shroud, as well as several costume changes at different points in the play.
For example the ballerina costumes won by Sister and the Father in an ingenious bid to save the show after Sister Mary Joe is incapacitated with a baton, the cook’s costume donned by the Father later on in the play, and the ‘waffles’, donned by the children for the Christmas carol in the first act. Since there are so many costume changes, they had to be designed with ease of changing in mind while still being able to meld with the Christmas theme. This was superbly achieved.
Another element of theatre that has been well used is that of set design, and use of props. There are two angles to this; the first is that the action takes place in a convent basement cum recording studio, and the second is that the action takes place during the Christmas season.
The presence of video cameras and television screens help bring out the former element of the play, as well as the background setting. The former is brought out by the costumes donned by the cast, the musical selection consisting largely of carols, and the props such as the Santa cut-out used to distract the audience as to distract the audience as the sisters regroup now that they cannot present The Nutcracker.
It seems that with The Nuncracker franchise, you either hate it or love it Gail Burns falls into the category of critics who feel that the franchise is a waste of theatre space. Of the Nuncracker, this is what he has to say:
‘…is one BIG Christmas turkey. It was a turkey long before the Mac-Haydn presented it. And their festive set, inventive costumes, and top notch cast can’t do anything to change the fact that the script and the score are dreadful.’ (Burns, n.p)
Burns (n.p) acknowledges that the play is popular because seats are always filled when Nuncracker is showing; but popularity does not make a play good. In Burn’s opinion, the plot does not develop, the characters do not grow, the score is predictable and deplorable.
The only saving grace for the play is the cast who sing their well known melodies with a richness that is inspiring and the props and lighting which are very well done (he negates this statement by adding that the pomp and flare serves no real purpose). He however acknowledges the good work done by the costume designer, the musical director, and of course, the set designer.
Victoria Lee takes to the play much better than Burns. She calls the play a ‘rollicking fun show…with good natured naughtiness’ and ‘…truly warm and gentle’. (Lee, N.p). She surmises that the show is a true embodiment of the Christmas spirit, captured by the heartrending performance of the various members of the cast. Her conclusion is that the show is very much worth watching.
However, it is the audience that normally has the last laugh because, critics or not, it is the attendance of theatre goers which in the long run determines whether a show stays or goes. After twenty five years and six pieces in the franchise, uncreative plot and all, the Nuncracker is giving other shows a run for their money.
Works Cited
Burns, Gail. M. “Nuncrackers”. myvanwy.tripod.com, May 2005. Sourced 12-12-2010. Web.
Goggin Dan. “Nunsense Creator Dan Goggin on His 25 Years at the Convent.” Broadway.com, 2010. Sourced on 12-12-2010. Web.
Indianapolis Monthly. “Best of Indy.” Emmis Communications, Dec 2000. Web.
Lee Victoria. “Nuncrackers: the Nunsense Christmas Musical” theatrelouisville.org, 2009. Sourced 12-12-2010. Web. Nunsense. “Nunsense Show!” 2010. Sourced on 12-12-2010. Web.
Tamswitmark. “NunCrackers, The Nunsense Musical show.” Tams-Witmark Music Library, Inc, 2000-2005. Sourced on 12-12-2010. Web.
Wilmeth, Don. The Cambridge Guide to American Theatre. London: Cambridge University Press, 2007. Print.
The beauty and uniqueness of African artwork remain distinctive from the historical ages to date. One of the most common artwork is that of sculptural designs that has individualism and highly values content that forms today’s historical analysis.
What is even more interesting of the sculptures is the introspective draping the sculptural works. There is mystical aspects inclining to the ancestral believe, worship and realm of the unknown. This paper forms a comparison as well as contrast between the Songye Power figures and the Fang Reliquary figures.
Songye Power Figures
Style of Songye Power Figures
This is a bilaterally symmetrical sculpture furnished with textural scales and an aesthetic form to reflect devotion. Entire surface of the Songye power figure draped with metals, wood, feathers and other material linings fastened systematically to produce a balanced appearance.
However, the Songye power figure originating from the Republic of Congo appears more distinctive with the indentations on the eyes, mouth and stomach areas that lack the tack lining. Like other similar traditional figures, Songye’s empty areas are stuffed with symbolical substances such as plants and animal remains or minerals around the geometrically outlined limbs, chest area, head and neck.
Copper nails with turret heads were common material featuring on the sculpture like other similar sculptures such as the Fang Reliquary sculptures. The finishes of the sculpture include beaded necklaces and naturalistic bands made of animal hide and pelts. Like most traditional figures, the pedestal base of the sculpture was also an integral section of the design. The figure below illustrates the sculpture.
Songye Power figure
Purpose of Songye Power Figures
The mouth of the Songye figure symbolically presents the offerings to the ancestral spirits who bestows fertility and provides protection against illnesses or misfortunes. Like other sculptures, the purpose of this figure was to strengthen the diviner’s powers of healing and maintain the societal wellbeing.
The diviner recommend the Songye sculpture for the patients treated using the herbal medicine, so that it can strengthen the healing process through divine protection. The large sized sculpture were communally owned but small designs customized for special personal needs such as private prayers reminiscent of protection against the evil spirits, heal ailments and communication to the ancestral spirits were available.
Like the other traditional sculptures, Songye provided divine powers for success for common endeavours such as hunting or gathering. Songye also had the role of protecting personal object and devotion. One special need that the figures addressed was enhancing fertility through support of conceiving or preventing miscarriages.
The genitalia of personal Songye would indicate the preferred gender for the first child. The figures were also an empowerment to the community such as illustrating the ideal masculine leadership style and like other similar sculptural designs, Songye were idiosyncratic to represent regional reputation.
Tribal Life of Songye Power Figures
Similarly, to other sculptural works such as the Fang Reliquary, Songye Power Figures are sculptures commissioned to top leaders such as chiefs or village elders, whose wishes are to benefit communities. Design of the sculpture also comes as an ancestral appraisal symbol to assist during crisis.
This meant that everyone in the society had to seek the divine intervention through sacrifices and special appeals to the sculptures. Other sculptures have special aspects that unite members just like the Songye sculptures. They share various traditional functions such as protection against enemies, illness, witchcrafts and procreation matters.
Fang Reliquary Figures
Style of Fang Reliquary Figures
On the other hand, the fang reliquary sculptures made from woodcarvings and metals have glittering surfaces and patina appearances especially after palm oil applications during rituals. Unlike other sculptors, the Fang Reliquary sculptures have daring human obstructions and receptacles of ancestral relics, thus referred to as the guardian of sacrosanct.
The relics are made of human bones. The enhancements idolized the ancestral forehead figures due to believe that force saturates in the head. The reliquaries made from joint backs preserved the relics and the figure provided guardianship through the symbolic trace of ancestral protection.
The sculpture is arguably the main influence of traditional wooden sculptures. It has an absolute physic appearance and in Gabon, the female sculpture emanates vitality. The fang reliquary figures have three distinct groups, one with a head crafted on a long neck, full sculptured figures and half figures or busts. The figures are either stand-alone or seated. Unlike other sculptures, the spherical but naturalistic of Fang Reliquary brings out sophistication from the simple carvings.
The neck is often round with the hands placed in diverse styles such as in front of the body, chest, and holding objects or placed on the knees for the seated figure. The navel is a cylindrically exaggerated protruding carve-out. The legs are shorter to give a stunted appearance, while the eyebrows and fore head projects some contours and arcs around the nose area. The eyes were made of rounded metal bits. These aspects making the sculpture unique compared to other forms such as the Songye sculptures as shown below.
Fang Reliquary figure
Purpose of Fang Reliquary Figures
Unlike Songye sculptures, Fang Reliquary sculptural work was to protect people from the spirits of the deceased. The figure was sacred but lost the value of sacredness once separated from the receptacles or repository chest of relics. Unlike other religious statutes, it also underwent sacred ritual of distraction after losing sainthood, which involved prayers, sacrificial offers to the ancestors and libations such as pouring of alcoholic drinks in honour of deity.
Tribal Life of Fang Reliquary Figures
Fang Reliquary sculptures are universal and blends the environment, other forms of tribal rituals, believe and communal characters better than other sculptures. The figures are mainly in seated positions on top of the bark boxes that held sacred relics thus depicting the guardian figures better than the Songye sculptures. A clear distinction from other forms was that it brought out youngster aspects as an emphasis over continuity of life.
Conclusion
The artworks came to existence when there was need for change such as migration, planting of new type of crops, before taking on a hunt, fishing and during nuisance, period, when people had to prepare for war. Both the art forms have a way of creating a blend between the unborn, the living and the living dead and represent religious symbolism. This is a clear indication that the African artworks were mainly based on sacred believes and sacrificial practices.
Art and ceramic making is firmly engraved in particular contexts and most of the time, these are linked to certain groups. Some may be direct such as art movements while others may be indirect such as globalisation.
Kawaii movement
This movement started in the 1970s in Japan and was used to represent everything about the culture that was cute and adorable. In fact, Kawaii is derived from the Japanese word kawaisa. It is largely recognised as a fashion movement but its effect has penetrated into different arenas of life including ceramics, art, entertainment, behaviour and the like. It should be noted that this movement grew and changed as time progressed.
At the onset, the movement was first recognised as a way of writing; here teenage girls would use round figures in order to put something down and they added small symbols and smiley faces onto them. Adults and experts asserted that this just complicated the Japanese language and should be abandoned. Subsequently, the kawaii writings were banned but resurfaced in the next decade through commercial packaging of products as well as through comic books and the like.
It was then assumed that these magazines and companies were the ones that had created the kawaii writings. However, research revealed that teenage girls were actually the ones who came up with it. Eventually, the entire nation began embracing elements of this movement in their lives. It was not just about fashion and writing but went on to become part of the nation’s culture. There was kawaii in household items, kawaii on airplanes, kawaii on television and kawaii amongst the police (Sugiyama, 2004).
Ceramics making and art in general would be deeply influenced by such a movement because it either represented kawaii in itself or was used as a way of modifying other kawaii aspects. For example, a person who embraces kawaii fashion may need to accentuate her look by carrying toys. Those toys are usually ceramics and my become part of the whole fashion statement. Alternatively, others may simply collect or use kawaii ceramics as they are.
These kinds of ceramics will often be easily identifiable; some of them will be little animations of a mouse or a child, others will look like a little smiley face with a cute flowery encapsulation. Normally, those ceramics will rely on colour to bring out their cuteness; they often be rich in bright colours such as pink and red. They will also use little characters associated with kawaii and are quite appealing to the eye.
In essence, the kawaii movement, much like any art movement represents the effect of groups upon the individual. Art movements usually have specific meanings that can be imperative in the creation and the development of certain art works. In the kawaii movement, Japan society interpreted it as way of propagating harmony in society by calling for a subtle way of expressing oneself.
In other words, through the sentiments held by a group, an individual can be influenced to carry on those principles through art. In fact, when one examines most kawaii ceramics, one can read such harmonious messages in them; some of them will be made up of little hearts to send out a message of love or affection (Sugiyama, 2004).
In other words, groups affect individuality because individuals are the route used to express the beliefs and values held by a group. The kawaii movement as a group wants to send out a message of happiness in the face of adversity. It wants people to express their own happiness.
The only way this can be achieved is through individuals finding within themselves their own creative elements. They need to be creative about how they will use colour in order to spread those messages. This implies that the kind of ceramics selected will actually be up to the individual although he needs to keep in mind the overall group goal.
Kawaii much like the hippies is a way for young people to speak out against negativity in their worlds by finding their own kind of happiness. They need to realise that the sort of message they are sending to the world is more important than the immediate reactions others have towards them. Small groups or subcultures simply want to have a voice of their own that actually resists what is going on in the world. In this case, kawaii is an attempt to speak out against the chaos in society.
Reinterpretation and reinventing tradition
In the Asian context, ceramics have been in place for centuries on end. However, artists often look for new and innovative ways of making their pieces unique. They still do their best not to lose this background in their work even though they still leave room for their own voice. In other words, through reinterpretation of tradition, these artists can then be in a position to express their individuality.
Such a phenomenon therefore testifies to the influence of the groups upon the individual (Sugiyama, 2004). Tradition that is synonymous to a particular culture can be carried forward by one artist. One such artist is Li Xiaofeng. Li makes very rare ceramic dresses that make for beautiful viewing but also does this against the background of his respective community since he uses antiques. The ceramic dresses are essentially sculptures or pieces for performance artists.
Li makes sure that he honours Chinese tradition while at the same time remains contemporary. This artist has been able to achieve this quite successfully using his ceramic dresses. On one hand, he is showing that he is actually embracing modern designs by making dresses and outfits that are very upbeat and fashionable right now; even the very fact that the ceramics are not designed for conventional use like flowers pots also shows the contemporary and individualistic nature of the work.
However, the materials he uses are such that they represent Chinese culture. It is especially difficult for artists working with ceramics in China because the government imposes very strict rules about the products. No artists can export ancient artefacts and in this case, porcelain products are classified as ancient artefacts. Li managed to work around this restriction because he still derived influence from ancient China but used new ceramic plates.
He painted the ancient Chinese symbols himself. The artists mostly focused on the 14th to 17th century dynasty (commonly known as Ming). He uses inspiration from these periods to paint most of his porcelain bowls. However, in a few other selected pieces, this artist can be seen working with influences from the Qing dynasty as well as the Kangxi period (Sugiyama, 2004). These designs contain representations of children or the lotus.
The lotus was interpreted as a symbol of rebirth and innocence. At those times, a lot of infant mortality was common and children were such a big treasure. The lotus was highly applicable then because it captured the people’s wishes. Essentially, Li the sculptor has managed to capture a rich and captivating history in his pieces but he has not stopped at that. He took his art work to the next level by not just focusing on this aspect. He wanted to show that sculptures can indeed be seen from a different realm.
This work was a representation of art as seen through an individual’s creative process. A group can therefore influence an artist through the rich heritage and tradition of the group as the group may either be a culture, country or even a region. Even though these kinds of societies may be very strict in terms of imposition, it is still possible for individuals to work around such restrictions by making the most of their surroundings.
How to bring sheerness, softness and poetry in a rude world
Art provides the means with which artists can send out messages of change, discontentment or rebellion in a conventional society. On the other hand, art may actually do the opposite; it can be used to spread a message of softness and subtlety in an arrogant world. Normally, this is achieved through the use of colour or form or a combination of these. In ceramics it is the latter component that is applicable since one quality is never complete without the other. Certain artists will use certain components that are
Sculptors, artists and may use floral patterns and colours in order to disseminate a playful message to those concerned. This defies the arrogance and darkness around them by endorsing the opposite. On the other hand, sculptors may employ a different approach so that theirs may be a message of peace; they could utilise certain colours that are known for these representations such as white. Therefore, poetry can be incorporated into art in a political way. Personal expressions of art can therefore make the personal political.
Globalised world
Influences of groups on the individuals do not just stop at the cultural level; they can also be understood in the global realm. Globalisation has increased the appreciation of art through the general human spirit. Individuals from all corners have come to the realisation that there is plenty of variety out there and this implies that tastes and preferences have been modified in order to embrace this global atmosphere. For instance, the world can appreciate Asian culture and pieces such as Li Xiaonfeng because of globalisation.
Many of his pieces have been taken to different parts of the world and have made the artistic world richer. This indicates that not only can anyone in the world appreciate art from a different part but it also empowers individuals to create it. Globalisation therefore breaks down barriers that had initially been created due to niche art production (Meyer, 2003).
On the flip side however, some critics have asserted that the influence of the global arena on art and ceramics is rather negative. They affirm that the internet opens up an avenue for any armature artist to place his or her work in the public realm. This implies that everyone gets a level playing field even when their work is not worth its salt. Eventually, this excessive accessibility causes the work to lose its value. When people have to struggle in order to access something then they eventually come to appreciate it even more.
Globalisation also brings out the concept of the traditional versus the modern. As more and more artistic groups are getting exposed, there are different waves and movements that are cropping up. Each one appears to be embracing something new or to be taking on a very different perspective. However, upon looking at these groups at a deeper level, it is clear to see that a high number of them actually derive their influences from traditional groups.
Consequently, one can argue that those old cultures have such a profound influence on the manner in which art is expressed today. Since globalisation had not been as rampant then as it is now, it can be argued that the influence of groups through tradition was more important then than it is now. This brings into question the quality and importance of these new art works as they come into operation now. Most of them may simply look at issues superficially and this may not always be the perspective that is the most favourable in art.
On the other hand, globalisation has contributed towards a bridge between influences of groups in the past and influences today. Some of them may be such that they encourage an understanding and analysis of indigenous arts and ceramics (Meyer, 2003).
Globalisation has therefore advanced the exploration of aesthetic pieces belonging to particular groups and this does lead to better appreciation. In this regard, it can then be possible for cross cultural art to take place because artists or sculptors can borrow elements from these older forms. Art can therefore be more engaging once it has been reproduced in a manner that actually borrows a leaf from the past.
Additionally, it can be possible for these individuals to resurrect older art works. For example, research shows that India has always embraced miniature art, however, after development of the Mughal empire, this kind of art faded. In modern times, the art form has been revived in what now appears to be a neo-miniature art movement.
Artists are utilising various resources at their disposal especially though exhibitions in global cultural centres like New York. Essentially, what this means is that tradition will be strengthened and understood while at the same time contemporary culture will have improved dramatically. It also implies that more people are now participating in a debate around the movement. Globalisation therefore grows interest in otherwise dead traditions.
It should be noted that globalisation has the effect of bringing people together. It causes individuals to appreciate their own because they can always identify it if their traditional art is put alongside other works of art. In countries that have gone through difficult histories such as colonialism and domination then globalisation provides an in depth look at this past.
It causes people to become proud of their indigenous works even after these historical restrictions. There are plenty of cases around the world of people who were suppressed and prevented from expressing themselves but this soon came to an end when the concerned individuals rediscovered it through technology and other external forces (Meyer, 2003).
Globalisation has also demonstrated the effect of the entire globe as a platform for ceramics and art through the utilisation of international exhibitions. Most of these places will contain a series of pieces from different parts of the world. They contribute towards awareness and development of ceramics within the visual realm. On the other hand, some have asserted that the international exhibitions tend to be inclined more towards the western culture than many more.
This encourages development and growth of one dominant culture over and any other in the world. Globalisation has not always been understood positively because some people actually look at it as a mild form of imperialism. Western domination has not always come in the form of economic or social manifestations; sometimes it is cultural and nothing represents culture like art. Certain radicals actually attempt to reject it as much as possible.
In retrospect, it can be said that globalisation eliminates the clear line that has always existed between the global and international. The personal can now become global and can therefore derive its influence from a bigger realm.
Conclusion
Groups affect individuality in a number of ways. In certain instances, it is done through different bold values as seen in the kawaii movement. On the other hand, there are certain scenarios when previous cultures will use traditional cultures from their past in order to reinterpret it and hence create new contemporary applications.
Softness in art can be incorporated to send politically affiliated messages hence showing that groups (subcultures) can be affected through this softness. Lastly, globalisation provides a platform for shaping multicultural art.
References
Meyer, J. (2003). Global tendencies: globalism and large scale exhibition. Artforum, 206(12): 212
Sugiyama, T. (2004). The Japanese self in cultural logic. Hawaii: University of Hawaii press
