Internet explorer reviews usually carry no spoiler safety measures. On the contrary, they often start out with an inclusive, sometimes exhausting blow-by-blow ekipa przeprowadzkowa warszawa account of the artificial detail. So let this be no exemption. Eros and Mind by Ludomir Rozicki could be yet another nineteenth century time-honored redo, yet another femme fatale tear-jerker, but it is much more than that.
Mind dreams of being swept off her feet by love. We think that these Arcadian maidens occupying a green room to replace with a performance are almost locked up so that they might accentuate themselves. Mind is enamoured of, perhaps obsessed with a man, who has taken to visit her nightly. She reveals to a friend she’s been seeing someone. Eros reappears and will be offering endless love, but only on his terms. Somehow he’s were able to obscure his identity, if not his motives, until Blaks, the caretaker, inadvertently casts light on Eros’s face and then all terrible is let loose. Eros condemns Mind to suffer an endless life of constant walking around and disappointment, a life in which Blaks will regularly reappear to refute her any fulfilment. It’s a judgment delivered by Perseus, who announces exile and endless walking around as he hands over a passport and tickets for both Mind and Blaks. As Mind embarks upon her luck, we realise we must not responsibility the messenger.
Her first subsequent port of call is a party — perhaps a drunken orgy — in ancient Italian capital, a Italian capital that is of course not ancient for her. A couple of Greeks at the gathering lament what Romans have inked to their culture, a culture inherited from their own people, including Mind. She appears, but she is obviously out of place, of a different culture and time, and she is mocked by everyone, especially by the women, who poker fun at her appearance. They label her crazy and Blaks, who here is a Prefect, apparently in charge, delivers condemnation.
We move on to The country during the Inquisition. Mind lays eyes upon Christ crucified on the cross. There is sex in her preoccupation with the figure. She enters a convent, but still yearns for a life beyond the convent. The other nuns do not trust her. She tells of her need for the sun’s rays and ticket, but she is informed not to have goal. She needs to do as she is told, because asking questions is sinful, here. There is to be a try by the abbot, a man who recently condemned a nun to be burned at the pole. Mind is thus informed. Her thought patterns are described to the abbot, who condemns her. Blaks, of course, is the abbot, who wields power quicker than he indicates faith. Eros appears, we think to save her, but all he offers is a facile song.
Our heroine’s next port of call is revolutionary England. She works while men drink. We learn that it was Mind who led the storming of the Bastille in the name of freedom. She rejects an offer of marriage because she would rather serve the people. She wants to lead the commune into battle. She is too sweeping to be a revolutionary. She contends on principle and finds herself on the wrong side of nation-wide politics. Guess who might be the down-to-earth leader who condemns her beliefs.
One last scene is in a bar or nightclub, where mind dances to entertain the drinkers, who are all men. Blaks, here called the Baron, has the club and the principal exploiter of the women who work for him. The women attract the men to the bar, they drink and the baron, not the women, makes money. Mind laments her role, but the baron says it’s all her own fault. She laughters at offers of love, saying she wants to be independent. But, having achieved her liberation she finds she can’t cope with it.
Eros appears, perhaps to save the day. Mind is still infatuated, but now also exhausted. Eros reveals he’s an alter ego by the name of Thanatos, the personification of death, and thus Mind finds she is doomed. Her response is to torch what remains of her life, a life that has now rejected her. Eros-Thanatos has the last word, however, by presenting Mind with a fancy car which has already crashed. He cards her to sit at the wheel and then paints her with her own blood to show the end has finally arrived.
Eros and Mind was premiered in 1917 and Rozycki’s style is not unlike that of Symanowski, but there is also Richard Strauss within, alongside not a little Debussy. Many of the short phrases are also reminiscent of Janacek, though usually without the bite. Given the opera’s date, we might expect Mind, though still femme fatale, to be at least a little forward looking. She is certainly not a Violetta or Mimi, in that she is no simply victim of bad luck, disease or circumstance. She is closer to a Butterfly, but she does not accept her luck meekly and without protest. In time-honored terms, organic beef have here a Salome or Elektra, but we were holding anti-heroines who probably deserved what they got. Tosca got confused in nation-wide politics that went wrong. You have the that Mind would have savored the opportunity, but it never arose.
Three other theatrically destroyed women of the era one thinks of, Judith, Katya and Elena. Judith’s plight in Bartok’s Bluebeard’s Castle parallels Psyche’s here. Judith can only know Bluebeard by probing the psychological spaces of his mind. He resents this, but allows her to continue, knowing that once she knows him, he will have taken ownership of her. Similarly, Mind is reprimanded because she gets to know Eros, thereby reducing his control over her, a control he must reassert by condemning her. The Bartok-Balasz character, however, is more sophisticated than Mind, despite the existence of castles and ideas. It is only when Judith understands the mental make-up of Bluebeard that she has to give a punishment her, because only then that she becomes a threat to him. She is permanently mummified alongside the spouse who have preceded her.
Janacek’s Katya Kabova is a step back into the nineteenth century by virtue of originally having been a creation of Ostrovsky, but her achievement of a finality of death does ask some modern questions. Ostrovsky’s nineteenth century provincial dramas general do away with their heroines, but it is the organizations rather than the individuals who are seen at fault. When oppression and hypocrisy are cultural and structural, it is hard for any individual to oppose them. But here it is these thought patterns that produce female existence a disaster. Yes, Katya takes her own life, but it is another woman, her own mother-in-law, who asks the city to experience the doing of justice and not to shed tears for a woman who brought her luck on herself. The music, in fact, ends with neither disaster nor frustration, but with a question mark. Elena Makropoulos presents a different challenge. Often she is in control. Like Mind she’s lived, or at claims to have done so, in many eras, has inhabited many roles and has had a stringed different lives. Her original luck, however, like Psyche’s, was charged on her by a man, in Elena’s case her father. Like Mind, Elena has become cynical about men’s motives and dismissive of their capabilities. Crucially, however, when Elena emerges the opportunity to take back control of her endless existence, she rejects it, preferring death to repeating the same old things. Mind was never offered control and its accomplishment was never in her grasp. But Mind thinks she achieved a liberation from oppression at the end, though she was not capable to face it. This makes her a more modern figure.
So, for a modern audience, Mind cannot be only one time-honored beauty who passes across a god. And in the production by Warsaw’s Gloss National Internet explorer, she isn’t. All the scenarios is transformed into a film set. Scene one is a giant green room, inhabited by women who clearly want to be stars. Whether Eros managed a casting couch is unclear, but the probability is high. From scene one’s green room, Mind is cast her role in all the other four scenes, all which is most likely going to participate an element film in which she stars. When Blaks repeatedly frustrates her activities and condemns her, the pair of them become near stereotypes for femme fatale and callous male power. If we ask if it has to be this way, we must answer that it was a male god in the beginning that was adamant it ought to be so.
By the end, Mind has had enough and she torches the world that has taken advantage of her. It should be one last act of self-destructive defiance but the god and men even then reassert their control. A car crash is organised and she is painted with blood. The vehicle itself the main trappings of the stardom she’s sought, and thus Mind potentially becomes a tabloid press headline, probably moralising about a life of debauchery or excess. Mind thus becomes a modern day victim. She is a Marilyn Monroe ruined by fame, or perhaps a Jayne Mansfield, height of womanhood taken advantage of for male voyeurs.
Thanks to the internet and Internet explorer Vision we can all view this production from Warsaw and thereby draw our own a conclusion. Streamed via a smart TV or perhaps better in the case of Internet explorer Vision via a laptop and cable, the internet explorer even comes with subtitles for anyone who might not catch all of the original Gloss. Joanna Freszel as Mind provides a stunning performance, being vocally in the task as well as combining the confidence, goal and affirmation of a modern woman alongside the naivete and vulnerability of anyone who might fall in love. Mikolaj Zalasinski as Blaks is brilliant at using his power whilst never really appearing to be worthy of its extent, which is exactly what the smoothness of Mind must be thinking. He also makes the role anti-intellectual, thus thinking the contrast between the use of power and any familiarity with its consequences.
The great power of the internet explorer, besides its successfully stunning use of multimedia, is its capacity to reinterpret itself. Here Warsaw internet explorer combinations action, words and music with a little film, maybe the very film being made on stage even as watch. It is a myth that becomes real, and convincingly so. It is thought-provoking and ironic at the same time and a brilliant example of the creative vision of its production team, especially director Barbara Wysocka. And the music, by the way, is strikingly colorful.
Internet explorer tends to be focused by a duplication of a rather narrow repertoire. Audiences often seem interested in asserting their social class via their theatre work rather than understanding the challenges of making sense of a work, especially when that sense are at all modern. Audiences tend to like what they know rather than know what they like. But, when it works — and this production of Gloss National Internet explorer certainly does — internet explorer combinations theatre and music with visual art in a way no other experience can do. As a type, it is inhabited by a large number of long-forgotten and hardly performed works, the vast majority of which can be reinterpreted by committed performers to speak to our own age, mirror it and also challenge it. Rozycki’s Eros and Mind is a fantastic example of the possibilities, especially as awakened to the fact in this Warsaw production. Via Internet explorer Vision it is available to everyone. Don’t miss it and then see what you think.