Chung Ling Soo was a stage name of American magician William Ellsworth Robinson (1861-1918)
First performed in the opera in Europe in 1905, which like La Princesse Jaune, was created in the time when the Orient was exciting for the West.
Chung Ling Soo maintained his Chinese persona by always having a interpreter when talking to press.
His most famous stage trick was with his sidekicks dressed as Boxers. This could have been coinciding with the Boxer rebellion happening in China at the time.
Chung Ling Soo died in a performance in London when his bullet trick went tragically wrong. As opposed to a fake bullet giving the impression that he caught in his mouth when fired, a live one was used.
Raymond Liu's opera follows the journey of Chung Ling Soo from his early career in New York to his death in London.
Looking at past poster designs for Chung Ling Soo's performance revealed a few common traits that shape his performance's identity.
Yellow and red are the predominant colour choices for his show, which are very much associated with Chinese culture.
The illustrative style is reminiscent of the Old World aesthetic which may not translate well to a modern audience.
Traditional Chinese motifs are also featured in these designs which were meant to convince audience of his 'Chinese' descent.
Savitri and Satyavan
The oldest version of this story is found in the Vana Prava (The Book of the Forest) of the Mahabharata.
Savitri, the wife of a woodsman Satyavan, hears the voice of Death (Yama) calling her to claim the death of her husband. Satyavan finds her distraught after this incident, but assures her its all an illusion, 'Maya'. Yet Death still takes him away.
Savitri is willing to follow her husbands fate in a plead to Death. The god is moved and grants her a boon of anything for the return her husband. Savitri asks for her live her life in fullness, which includes living with Satyavan.
Death grants it and Satyavan is brought back for her. In the end, even Death is 'Maya.'
Significant figures in the story
Childless King of Madra Kingdom, Asvapati
The Sun god, Savitr
- The Sun god before the sunrise is called Savitr
- The Sun god after sunrise till sunset
- Savitr is usually shown as a resplendent person holding a lotus flower in both hands, riding a chariot pulled by one or more horses, usually 7. Gayatri, Brihati, Ushnih, Jagati, Trishtubha, Ambhtubha and Pankti.
The Blind King, Dyumatsena of Salwa Kingdom
God of Death, Yama
 |
| Mood board focusing around the opera itself |
 |
| Mood board about the Sun god Savitr |
 |
| Mood board about the god of Death, Yama |
Because of the mythological origins of the story, the artwork surrounding it are based on the traditional Hindu style which often feature a high level of intricacy and use of vibrant colours.
Gods are revered in Indian culture and their representations are often far removed from the human form.
Debuted in Paris on 12 June 1872.
It was the third of his twelve operas.
Saint-Saëns was influnced by the Japonism movement in Paris when writing the opera.
The Opera was set in the Netherlands, making it a half-Dutch and half-Japanese piece.
It was the first time that an artistic creation evoked Japan in France, and France in Japan. The work was the symbol of musical advance toward Orientalism while retaining Western traditions.
Synopsis
Kornelius the protagonist of the opera was fascinated by all things Japan.
Cousin Léna, was in love with Kornelius.
Kornelius was fascinated with his portrait of Ming, a Japanese girl, to notice Léna's affections.
In a wild dream induced by a potion, Kornelius is transported to Japan. At first enthralled, he eventually becomes disillusioned as he realises that he is in love with Léna.
There is hardly any artwork relating to the opera which would have helped build some context around. However the key points to take away is that it was first performed in Paris, France and that the opera has a relationship between the Netherlands and Japan, reflecting the wave of Japonisme influencing the West at that time.
No comments:
Post a Comment