By Jonathan Wisenthal et al. (eds.)
Best often called the tale from the 1904 Puccini opera, the compelling smooth fantasy of Madame Butterfly has been learn, watched, and re-interpreted for over a century, from Pierre Loti's 1887 novel Madame Chrysanthème to A.R. Gurney's 1999 play Far East. This interesting collaborative quantity examines the Madame Butterfly narrative in a large choice of cultural contexts - literary, musical, theatrical, cinematic, ancient, and political - and in numerous media - opera, drama, movie, and prose narratives - and contains contributions from a variety of educational disciplines, akin to Asian reviews, English Literature, Theatre, Musicology, and picture Studies.
From its unique colonial beginnings, the Butterfly tale has been grew to become approximately and inverted in recent times to shed mild again at the nature of the connection among East and West, ultimate well known in its unique model in addition to in retellings resembling David Henry Hwang's play M. Butterfly and David Cronenberg's display variation. The mixed views that consequence from this collaboration supply new and demanding insights into the robust, resonant fantasy of a painful come upon among East and West.
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Extra resources for A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly
William Ashbrook credits the casting of two dramatic sopranos (Salomea Krusceniski and Emmy Destinn) in performances following the ill-fated premiere with deepening the role: ‘The prominence given these two dramatic sopranos suggests that Puccini later modifed his original view of Butterfly as a sort of Japanese doll and came to stress more and more the tragic aspects of the role’ (114). 1 (Spring 1983): 76–86. Kerman 254. Kerman has been widely castigated, of course, for this callous dismissal of Tosca.
That Pinkerton is momentarily – if not like Butterfly, permanently – capable of real feeling comes across in his remorse as he learns the true nature of Butterfly’s attachment to him. We come to see that Butterfly’s tragedy is not just that she is Pinkerton’s victim; rather, her faithfulness is an anomaly even in her own culture. ’ Original emphasis. ” As reported in The [London] Times of 14 October 1957, in a production given in Bucharest’s new opera house, Pinkerton appeared complete with pipe and white flannel trousers suggesting a sort of composite Anglo-American colonial type, for whom it was difficult not to feel intense dislike.
6 This source is carefully examined in Arthur Groos, ‘Madame Butterfly: The Story,’ and see also Jan van Rij’s Madame Butterfly: Japonisme, Puccini, and the Search for the Real Cho-Cho-San. ’ Inventing the Orient 17 8 This is the spelling in Long and Belasco – as opposed to Puccini’s Italian version of the name. 9 And the Cronenberg film has painted screens, a fan, a mask, and other paraphernalia of japonaiserie as the background to its opening credits. ’ Some other musical examples of this fascination with – and fashion for – all one sees that’s Japanese would be Gilbert and Sullivan’s own Mikado (1885), Saint-Saëns’s La Princesse Jaune (1873), Messager’s Madame Chrystanthème (1893), and Mascagni’s Iris (1898); and the Messager and Mascagni operas are in different ways obvious predecessors of Puccini’s Japanese opera.
A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly by Jonathan Wisenthal et al. (eds.)