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Look What Came in the Mail!

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Copyright 2013 by G. E. Gallas


Note on “The Nutcracker”

Disclaimer: I do not own any of the following images or video!!

One of my favorite operas is Jacques Offenbach‘s The Tales of Hoffmann (Les contes d’Hoffmann). This opera is a fantastical retelling of the life of the German Romantic author E. T. A. Hoffmann,  casting Hoffmann as the protagonist of his own stories.

Placido Domingo performing the “Chanson de Kleinzach” aria.

Désirée Rancatore performing “Les oiseaux dans la charmille.”

Through The Tales of Hoffmann, I developed an interest in Hoffmann and his stories, quickly leading me to Sigmund Freud’s The Uncanny. In Freud’s essay, he uses many of the same Hoffmann stories as Offenbach, but in this case to prove a psychological point (not that Offenbach’s opera isn’t deeply psychological). If I remember correctly, Freud even mentions Offenbach’s opera.

Portrait of E. T. A. Hoffmann

I’m sure you are all wondering, “What does all this have to do with The Nutcracker?” Well, little do most people know, E. T. A. Hoffmann wrote in 1816 one of the earliest versions of The Nutcracker story, entitled The Nutcracker and the Mouse King (Nussknacker und Mausekönig).

Alexandre Dumas was also a fan of Hoffmann, employing allusions to Hoffmann’s stories in The Count of Monte Cristo. Dumas even went as far as creating a revision to Hoffmann’s Nutcracker in 1844 called History of The Nutcracker (Histoire d’un casse-noisette), or The Tale of the Nutcracker.

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Towards the end of the 19th Century, Hoffmann’s Nutcracker was adapted to ballet by Pyotr Ilyich Tchaikovsky, perhaps the most famous incarnation of the tale. I write this post because my dad purchased tickets to the San Francisco Ballet to see The Nutcracker at the end of the month. Perhaps later I’ll add my thoughts on the production to this post.

Tchaikovsky’s music is always wonderful, if not a little too overplayed for the holidays. A lot of people tend to associate The March from The Nutcracker or The Dance of the Sugar Plum Fairy not with Tchaikovsky, but with the thousands of Christmas commercials that use these pieces. This also happens with The Chinese Tea Dance from The Nutcracker with Disney’s Fantasia and The Sleeping Beauty Waltz with Disney’s Sleeping Beauty.

I believe the most creative and exciting production of Tchaikovsky’s Nutcracker is Mark Morris’s The Hard Nut. The Hard Nut is set in 1950s America with a very retro feel inspired by the comic artist Charles Burns — a strange but brilliant compliment to the classical music. I hope to one day be able to attend a live performance.

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For more updates, don’t forget to follow me on tumblr and/or twitter.

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Copyright 2012 by G. E. Gallas


Note on the Taishō Period

For many years, I have been fascinated by modern Japan — everything from the Meiji period (1868 – 1912) to current day. One of my favorite periods is a rather short one known as Taishō (1912 – 1926). What strikes me most about Taishō is the amazing blend of Japanese and Western aesthetics.

I think my interest in Taishō really began when I read Yukio Mishima’s novel Spring Snow (Haru no Yuki). This novel is actually a period piece — published in 1969, but set around 1912 – 1914. Mishima gives a detailed look at the Japanese class system of the period through a romantic tragedy (although I’m not sure Mishima saw this story as such).

My interest in Taishō developed further through a series of college courses on modern Japanese literature. I even did a project involving costume designs for a Taishō-set short story, involving research on fashion of the period from Kimonos and beyond.

I also find advertisements from this period interesting. Actually, the Shiseido ads from the 1900s through the 1930s are really remarkable! You can find out more about these ads on MIT’s Visualizing Cultures website.

Anyway, I just wanted to share a number of my favorite images:

Disclaimer: I do not own any of the following images!!

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1925 shiseido

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For more updates, don’t forget to follow me on tumblr and/or twitter.

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Copyright 2012 by G. E. Gallas


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