While the reviewer tries to be honest about what they saw, how they feel about it, and are entitled to their opinion, I believe they are missing the point of suspension of disbelief, and the point of the last part of the play. Similarly all those students worked very hard and gave up their free time to do more than simply "play dress up". There is no theatre major at NC State, the students come from all majors and all walks of life and many of them are new to the experience I don't think we should downplay their hard work as "dress up".
The point of the play was not supposed to be focused around Aladdin nor Disney. The playbill states that this is not the Disney version. Most of these complaints have to do with the script rather than the performance. Also it is kinda hard to actually expect everyone in the cast to be Arab... its called "Suspension of Disbelief." Also the end story of the play that you are referring to called "Confusion of Stories,' and in turn is supposed to be confusing. None of the stories are important to the story line and the point of that part of the play was supposed to be the progression of time.
As a commentary on modern politics, I say Spot on! I'm looking forward to seeing the play Friday night.
David Dean provided this information via our Facebook page:
Saul Flores at the first TEDxNCSU—the first time he told his story publicly:
I just got back from Atencingo, where I taught 5th graders about the scientific method and led activities on water filtration and ecology.
I learned that one of the teachers in the school was brought out of retirement and is being paid by the proceeds from the sale of Saul's photos. This project is making a difference, and I'm glad to be part of it.
I encourage everyone to visit Saul's website: www.thewalkoftheimmigrants.com
We should all act the way the indigenous man did, but we're not all going to do it. Nations aren't going to do it. You can't make someone else act that way, but you can act that way yourself.
I've seen the Sacrificial Poets twice in the past month, first at the Arab Springs Conference at Duke, where they did straight reporting of what they saw in Egypt and Tunisia last summer. It was as passionate as when they first returned. I sat next to a Tunisian professor, who was clearly moved by what she heard and saw.
I also saw Acts of Witness: Poetic Portraits of a Revolution Tuesday evening at the ArtsCenter. The theater piece is quite different from what they were trying to accomplish earlier: it's too bad that Woods doesn't understand the difference.
Woods doesn't understand that the world has changed since Kane, Will, Mohammed and Sameer returned from Egypt and Tunisia, and this theater piece has changed with it. It's already clear that the revolutions are threatened by reaction: so how can their stories simply recount the excitement and immediacy of their successes?
This piece is about much more than the revolutions: it's about the journeys of 4 young men, raised with certain beliefs about revolution, finally experiencing real revolutions, and finding themselves changed by them. They are no longer simply channeling the emotion they experienced in North Africa, as they were at first. This theater piece is a meditation on what we as residents of North Carolina have a right to say on behalf of our North African sisters and brothers. Did Woods even notice that the evening ends with images of Chapel Hill and Carrboro? What I saw at the ArtsCenter was the mature reflection of what has happened in the lives of these four witnesses. The panel discussion afterwards showed just how successfully they've done it.
However, slavery in the Indian nations differed in significant ways from American slavery. By most accounts, black families owned by Indians were not sold apart and usually were permitted to live together even if individual family members had different masters. Indian slaveholders generally did not use violence to control their slaves, and slaves were not regarded as dehumanized beasts of burden. Despite the nations' restrictive slave codes, blacks were allowed to gather on their own for religious services and were usually permitted to learn to read and write. Slaves who spoke and wrote English, furthermore, provided important services as translators for those Indians who were not fluent in English. Because many slaves had been born and raised in the Indian nations and had long family histories among the Indians, they shared many of the distinctive features of Indian culture and daily life. Black women in the Creek Nation, for example, prepared food according Indian customs and wore the same style of clothing as Creek women.
Although slaves did not have lives characterized by brutality and exploitation, they nonetheless occupied a degraded status as unfree people in the Indian nations, and their acts of resistance highlighted their desire to acquire freedom. In 1842 slaves in the Cherokee Nation took horses, supplies, guns, and ammunition and attempted to flee from the Indian Territory to Mexico, where slavery had been abolished. In 1850 Seminole leader Wild Cat left the Indian Territory with approximately three hundred blacks to establish a settlement in Mexico.
Outstanding review...wish I had penned these words myself because I agree wholeheartedly with Woods' comments about the play! Folks, you shouldn't miss this trilogy about life in Carolina! Preston, you have done Reynold Price proud!
The show isverygood its nice to have a good towing show on the air and espesially with people who actually care about the others and for those who think there not real people should rethink that ive been to nc the place is real ive never went in cus they were busy but ive seen them i was gettin fuel at the station accros the road u can see rons fleet and the office from there and all itsamazing
I love it....it's like a 2012 ...Mayberry...with more action and Barney has a bullet..in his Gun...Good Job...Y'all...I go through Lizard Lick, on my way to Wilson...would love to stop by sometime...to see you folks...JJ
Reagrding the quote from La Prensa.The first african music exposed to europeeans was called chaotic and primitive because europeeans felt threatened by it. Music-historians have proved that the african rythms where so complex that europeeans could not grasp them. That is was empty words like " original strange nature" is used to described this music in the article quoted. The african music simply was ahead of them and above their intellectual capacity.
It does not surpirse me that what is now called tango was danced with drums, the drums has an essential quality to them and their is no limit to the athmosphere they can create. Tango in it´s raw form is basically about base and rythmn, the strings and other instruments can realy be imagined in your head as far as I´m concerned. The tango music of today is about creating a feeling but truth is if you have that feeling within you, and I know the african community in argentine did, you don´t even need all the elaborate instruments, the music is within you when you dance.
Great show with memorable songs -- aside from the gypsy scene you noted, which wasn't that well integrated. I forgot how much of an emotional wallop it delivered. Rand, Rabun and Henderson make this a must-see. This is what local theater is all about.
Hope ron is all good after that stabbing, love the show.
Thank for mentioning our operetta in your article about the Solo Takes On festival. I just want to clarify the topic and breadth of our show. It is not about my mother, but it is a collaboration with three other women, including the philosopher, Luce Irigaray. kindly see our press release below.
Also, just so the readers understand what this operetta is about, here is our description:
“No One Hurts You More Than S/Mother.”
A one-woman opera about the first and only woman we ever loved, our mother.
Press Release: “No One Hurts You More Than S/Mother,” a hybrid work of operatic vocals, maternal myth, and drama, morphs our notion of longing to highlight the first and only woman we ever loved, our mother. S/Mother, as self-reproductive is the mother as artist, responsible for human life and death with a voice that enacts simultaneous births. Ravenous after she sings, she consumes those around her rather than nurture them. Those around S/Mother want her to become human to get the love they need, creating havoc for the balance of the universe. As S/Mother strives to find rest and solace within her body, S/Mother undergoes her own transformation. Can S/Mother successfully recreate herself?
Shannon Wong Lerner is an artist-scholar who is working on her doctoral degree through UNC-CH’s Communication Studies figured on the work of this opera. This is her first solo show that uses operatic voice, inspired by the work of philosopher, Luce Irigaray. Shannon has studied with Luce Irigaray, and her book chapter, “Methods of Irigarayan Breath for Voice and Dance” will be included in the forthcoming book with Irigaray, Breathing With Luce Irigaray, published by Continuum Press. This is a collaborative project with professional opera singer and vocal coach Monifa Harris and musical arrangement Kristina Warren.
Holly, you must have missed "(Spoiler alert! Readers may want to skip the next paragraph.)"
Thanks for spoiling the end of the show for those of us who haven't seen it yet!
This looks really interesting. Thanks for writing about it.
After 1820 the black population in Bs. As. began to freely integrate into the porteño society to the point that three generations later actual blacks made out less than 2% of the population.
The argument that suggests that the African culture in general and its music in particular was so influential and respected as to have had such a major effect on the decision of the remaining 98% of the population to adopt a popular music as their own, can be counterpointed with the argument Carlos Vega made in an article he wrote for La Prensa in 1932,
“A song book may be influenced by another as long as there is not a sentimental abyss between them. Even though most of the enslaved Africans didn’t belong to the group of the more primitive cultures, even though many came from African regions influenced by the semitic-kamitic cultures, the imported music they brought along was, with very rare exception, of such rudimentary, original and strange nature, that it was inaccessible to the ears of the white man.
That music could not wake up in the Creoles the natural desire needed for adopting it. Far from finding in the black celebrations appropriate elements suitable for the expression of their own feelings, the Creoles found them so colorful and ridiculous that after their extinction they modernized them in grotesque carnival parodies with drumming and European songs.” -La Prensa, Nov 16, 1932 – Carlos Vega, African songs and dances in the River Plate area.
Tango as a song and dance popular genre can't be defined just by one of its constituting elements, the music, its lyrics or its choreography. And much less if the essential element is not the music because the music is the organizing and substantial element. Without the music the others can not exist. Without the music there is neither singing nor dancing. A dance step in itself, a verse alone, does not define anything, inasmuch as an isolated musical chord does not qualify as melody.
In Tango, The Art History of Love, the author's tactics seem to circumvent those concepts in a gratuitously attempt to inject the race card in an otherwise all inclusive popular cultural foreign manifestation. He looks at paintings and reads the painter's mind, he listens to a song and states the composer's intention, he watches a dancer and extrapolates a step or posture making up analogies and pulling hairs in a reckless way.
The least it can be expected from a history book is respect for time lines. Repeating irrelevant urban legends the author jumps all over time lines placing habanera dancing Cuban sailors in Buenos Aires about 60-70 years before Cuba's Armada was created.
Page after page of this irrelevant and dishonest history book, the author makes irresponsible claims and insists in implying that white folks stole tango from black folks adding another layer of racist pandering enlightenment.
- Flores = Black = Poet laureate of the people = Commiserates or melts by woman of the night.
- Discepolo = White = Darling of the intellectuals = Turn cold shoulder to woman of the night.
But here is the problem.
Tango YIRA, YIRA is not about a woman at all. There is no woman in YIRA, YIRA, a fact that anybody with basic high school Spanish could easily verify. The verses of Enrique Santos Discepolo at best reflect upon the inevitable end of our lives and the plight of those who live going around through life without ever finding a purpose. At worst, they are an indictment of the prevalent political and social climate just after the Great Depression.
"Cuando la suerte que es grela, (When luck that has feminine gender) fallando y fallando te largue parao' (letting you down, letting you down, leaves you standing by yourself)" ... clearly talking to a male listener, or maybe to himself, using the noun "parao," an uneducated variation of the passive participle of the verb PARAR, `parado' which he uses to signify being abandoned on your own. PARADO's gender is masculine. A woman would be left PARADA. Right there and then everyone knows that the tango is not about a woman.
In YIRA, YIRA, Discepolo is not turning a cold shower to a woman of the night. A serious tango historian must know about the lunfardo verb YIRAR - the tour around all the police stations of the city by repeat thieves so they'd become known to all the officers. - Serious tango experts also must know that the noun YIRO , a derogatory word for prostitute. A culture vulture would listen to YIRA, YIRA and rightfully think of a prostitute.
The sources of most fairy tales in Thompson's book are generations of Argentines who qualify as ignorant culture vultures, and maybe some reassured him that YIRA, YIRA is about a woman. However ignorance is not a reliable source for a book heralded for having discovered in the Argentine tango a racist undertone that ignores African culture.
By accusing Discepolo, under false pretenses to prove his case, if not of outright copying Flores, "the black poet laureate of the people," but at least of willfully misinterpreting him, Thompson may have inadvertently fit in the vision of Discepolo.
"Veras que todo es mentira (You'll see that all is a lie) veras que nada es amor (you'll see that nothing is love) que al mundo nada le importa (that the world couldn't care less) Yira, yira! (go around every police station so they can take a good look at you)"
A total waste of precious resources and an unfortunate source of false pride for trusting blacks who fall in love with the tango.
I was in the audience on Friday...I was laughing, but for some reason I felt compelled to laugh quietly...maybe it was because I was at a funeral! An example of the polite behavior that lubricates society.
The play was funny, the production was terrific, but to me it was more of a dry thoughtful humor, not a laugh out loud humor. You are right about cues..maybe I needed permission.
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