1 Well, it's a dance. Her step-father, seriously Numero Uno, asks her to dance. She refuses. He asks again, and again. He offers big, big money. He swears that he will give her what she asks for, up to half the kingdom (just to see her dance). So we listen to the preparatory music, and then she dances.
2 Now on a stage a seven-minute (or so) solo dance is a challenge. It's probably a particular challenge to opera singers. So far as I have seen, the performer can go round in circles, can go from side to side, and from front to back. Clothes on, clothes off? A question, and we're all waiting for the answer. Years ago Maria Ewing took off seven coverings and then stood naked, hands in the air. All in the cause of the development of the narrative, you understand. You see if Salomé was dressed for the part then it does look as if she expected the lascivious old step-dad to ask her, doesn't it? And not only that because it also looks as if she was prepared and knew what to do. It wasn't the first time she had danced for the old sod. Oh, no. Just listen to Herodias.
3 So she's dancing. Everyone is looking on. There's no talking on stage. And there's no talking in the auditorium. So what about the opera? What's going on? A mid-opera entertainment, according to the fashion of the ballet in La Traviata? What do we learn from these seven minutes, about seven percent of the total performance-time? Read on.
4 Yesterday evening, we learned what was going on. The on-stage onlookers were removed from our sight as the stage revolved. Undistracted, we watched the young woman and her step-father. We watched as she put on a dress and, with his help, took it off. We watched as he watched her and as they joined. A private display, a private pleasure. Lest we failed to read the performance, the backdrops explained. The libation too told us about soiling, about who had been soiled. So we learned that the invitation to 'Dance for me, Salomé' was not a first invitation. No, indeed. There had been previous dances, previous displays, previous pleasures. The presentation of the dance made sense. It was part of the development of the opera.
4.1 And it made things so much easier for the dancer. Instead of being required to perform a solo dance for seven minutes, the actor was now part of a duet, both members of the duet having a contribution to make to the developing story of a step-father's abuse of his power over his step-daughter.
5 Now, think afresh about the relationship between Salomé and the Baptist. Think afresh.
2 comments:
The reluctant dancer who is seduced. Not so much the Lolita seductress, but one who has been seduced against her will. We are led to believe that Salome has been schooled in the art of seduction, which is apparent in her approach to John the Baptist. However in her dance to her step father, the reluctance is evidence from the throwing of the rag doll, to the washing away the guilt and unhappiness of her situation. The tension in Herod is apparent, as he skulks in the doorway watching, knowing his obsession is overpowering, knowing his actions are wrong. The push me, pull me effect is there despite the careless treatment of those in the Court.
The reluctant dancer who is seduced. Not so much the Lolita seductress, but one who has been seduced against her will. We are led to believe that Salome has been schooled in the art of seduction, which is apparent in her approach to John the Baptist. However in her dance to her step father, the reluctance is evident from the throwing of the rag doll, to the washing away the guilt and unhappiness of her situation. The tension in Herod is apparent, as he skulks in the doorway watching, knowing his obsession is overpowering, knowing his actions are wrong. The push me, pull me effect is there despite the careless treatment of those in the Court.
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