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No fundo, ele pensou, todos nós acreditamos que somos Deus. Acreditamos secretamente que o resultado do jogo depende de nós, mesmo quando estamos apenas assistindo - depende do jeito como inspiramos, do jeito como exalamos, da camiseta que usamos, de fecharmos ou não os olhos quando a bola deixa a mão do arremessador...
CHAD HARBACH, A arte do jogo
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Os humanos são criaturas ridículas, pensou, ou talvez seja só eu: uma pessoa aparentemente inteligente, aparentemente consciente do modo com as mulheres e os trabalhadores assalariados foram oprimidos durante milênios - e fico emocionada quando alguém me diz que sou boa em lavar pratos
CHAD HARBACH, A arte do jogo
Tudo o que um treinador precisava fazer era olhar para cada um de seus jogadores e se perguntar: que história esse cara gostaria que alguém contasse a ele sobre ele mesmo?
CHAD HARBACH, A arte do jogo
#MFAvsNYC Part 1 // I Can't Believe This Was Missed
#MFAvsNYC Part 1 // I Can’t Believe This Was Missed
I was really intrigued by the MFA vs NYC collection of essays that came out a month or two ago, edited by Chad Harbach. It took me about 3 days to read 85% of the book, and then 3 weeks to read the rest. So it goes. I’ve got a lot of ideas about these essays. A lot of them have been published on the Internet, so it’ll be easy to follow along. Or buy the book.
Here are my thoughts on the title…
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Chad Harbach's "The Art of Fielding:" A Close Reading of Scotch-Fueled Fun
Chad Harbach's "The Art of Fielding:" A Scotch Treatment
FYI, this entire post is pretty much a big ole spoiler.
I zoomed through Harbach’s The Art of Fielding last week. It’s a fairly easy read, lengthy, but there are some lovely passages (if a little cluttered at times). In essence, it’s about a…
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The Human Condition being, basically, that we're alive & have access to beauty, can even erratically create it, but will someday be dead and will not.
The Art of Fielding, Chad Harbach
He arose before dawn, walked his usual route along the lake he loved, went to the office to plow through the work he'd been neglecting. He rarely slept and he rarely tired. His heart in his chest felt dangerously full, swollen and tender, like a fruit so ripe it threatens to split its skin. He wanted every day and every moment, the moments with Owen, the moments between Owen, to last and last and last. In his life he'd passed through long periods of gratefulness and good cheer, but he'd scarcely even imagined this level of thorough contentment with things as they were. His chronic restlessness had fled. He wanted nothing new. He wanted only to hang onto what he had. It was almost excruciating.
Chad Harbach, The Art of Fielding
September 2, 1924 - "Rose-Marie"
Send the children out of the room for a bit, I'm going to talk a little aboot Canada, eh? Well, not the real Canada, but the mythological land perpetuated by the creators of the 1924 operetta (actually musical, but we'll get to that) “Rose-Marie.” According to the Canadian Encyclopedia the show is “partly responsible for the widely held image of Canada as a land solely of Mounties, mountains, and snow.” Please note that they only say 'partly'. In the early part of the 20th Century producer Arthur Hammerstein set out to create a different sort of musical theatre on Broadway. One that was musically steeped in the tradition of the European operettas yet would be uniquely American. The new musicals would not concern themselves with the mis-adventures of royalty but with ordinary folks found in exciting new places and in exciting new situations. In 1924, Canada was such a place. Well, in the time before jet travel and the internet, it was as good a place as any. Rumor has it (wild rumor, at that) that Arthur Hammerstein sent his nephew Oscar (OH2) and Otto Harbach (just OH) to witness a grand ice carving celebration in Quebec. The pair reported back that there was no such celebration in Quebec – or any other part of Canada. But the pair held onto the idea of Canada as a location for a musical. Although the story of “Rose-Marie” (a love story, naturally) trekked from Saskatchewan to Quebec, the play's program simply said “Location: Canada” - that was enough for Americans to know. The music was written by Rudolf Friml and Richard Stothart and lyrics by OH2 and (just) OH. The latter pair also tackled the book, and Arthur Hammerstein acted as production supervisor. Stothart doubled as musical director. With just ten principals and a five member creative team, this was one of the most compact shows on Broadway. In this period, there was no differentiation between a musical revue, an operetta, or a musical comedy – all were described as musicals. Indeed as time travels forward and these very men continue to create more and more work, the lines between the genres blurred nearly to the point of invisibility. If asked to name the most popular musical of the 1920's the answer would be “Rose-Marie.” After 1926, the answer would be “The Student Prince” - another show described as an operetta. Although the Broadway production of “Rose-Marie” was a success at 557 performances (plus an almost immediate return for 48 more), it was Hollywood who turned “The Indian Love Call” into a classic with their 1936 film adaptation starring Jeanette MacDonald and Nelson Eddy. In every other way, however, the film was almost unrecognizable from the stage. Joan Crawford starred in a silent version in 1928 (yes, a silent operetta) and in 1954 Busby Berkley created a more faithful adaptation starring Ann Blyth and Howard Keel. Theatre aficionados know that “Rose-Marie” served as the basis for the camp off-Broadway musical satire “Little Mary Sunshine” which turned “The Indian Love Call” into “The Colorado Love Call.” Si ce blog ont été parrainé par le Canada, il pourrait également être traduit en français.
