By Rachel Brownstein
Publish yr note: First released in 1993
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]Rachel Felix (1821-58), the homely daughter of terrible Jewish peddlers, used to be the 1st level actress to accomplish foreign stardom - and the final individual one may have anticipated to resurrect the cultural patrimony of France. but her passionate, startling performances of the works of Racine and Corneille kept them from nearly sure obsolescence after the autumn of Napoleon (who had relished classical French tragedy) and the emergence of Romanticism. Audiences in Paris, London, Boston, and Moscow delighted to her voice, and wolfed the rumors of her offstage promiscuity and extravagance.
Her popularity - equivalent elements reputation and notoriety - was once so nice that she may well nonchalantly cast off her final identify. los angeles grande Rachel nearly invented the function of the famous person, whereas closing a logo of the top artwork and such a lot critical cultural goals. certainly, her identification used to be fraught with such contradictions - which intrigued the general public all of the extra. From the instant she used to be came upon enjoying the guitar at the streets of Lyons, to her debut at the Parisian level on the age of fifteen, to her serious and advertisement triumphs as Camille, Phedre, and different tormented ladies, Rachel's occupation used to be exhaustively "managed."
A sequence of theater experts, influential reviewers, and impresarios - together with her brash and opportunistic father - claimed the credits for her fabulous good fortune. What this abundance of male managers has continually obscured is Rachel's personal decisiveness and regulate over her time and cash - not just did she play her a variety of champions (and high-profile fanatics) opposed to each other, she brazenly defied them. a few known as her obdurate, even perverse; in those pages, we come to acknowledge her as a lady prior to her time, a charismatic person greatly in command of her personal future. As her fascination with all issues Napoleonic indicates, Rachel cherished strength - either own - and had the expertise to command it.
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Additional info for Tragic Muse: Rachel of the Comedie-Francaise
Sample text
PB: Yes. Q: There didn’t seem to be any manipulation of the text in Dream. PB: One word. Q: You changed something? PB: Yes. This was because in Dream, there are certain extraordinary values that come from the interweaving of themes in a particular order that are actually in the text. Let me put it this way: One of the great needs in the theater to produce explosive results is that there has to be friction. You can’t get any combustion, nothing can burst into flame, without an element of friction.
Today, after more than forty years in the theater and having directed more than eighty productions, many seen all over the world, Brook has not slowed down. His signature traits remain the iconoclastic approach and the belief in the power and value of art in all cultures. Possibly no other director in the West has had the confidence and daring to challenge conventional concepts as Brook has—and in the process influenced multiple generations of theater artists and excited theatergoers everywhere.
PB: Yes. This was because in Dream, there are certain extraordinary values that come from the interweaving of themes in a particular order that are actually in the text. Let me put it this way: One of the great needs in the theater to produce explosive results is that there has to be friction. You can’t get any combustion, nothing can burst into flame, without an element of friction. And one of the great weaknesses, for instance, in improvisation, or in improvised theater, is that although it can produce a great liberation, up to a certain point, eventually improvisation fails to go as far as we often want because you’re not fighting against anything.