THE FATE OF ‘OBSCURE DVDs’ – LESSONS for CULTURE + BUSINESS SUCCESS ?
Part 4
FIRST HAND REPORTS
MAKING AN OLD ART FORM ATTRACIVE TO YOUNG AUDIENCES
I was personally in attendance both for the celebrated SEASON'S Opening, the Season Opera Madame Butterfly , directed by the film director, Anthony Minghella.
It was a feast for the eye, as well as for the ear.
It was a dance performance (with traditional Japanese dance elements, costumes and props).
It was a theatrical performance, with the singers giving time and attention to slight facial expression changes, slight movements of head and hand, to details of voice intonation in speech, as well as in the singing.
Paradoxically, the very strong use of Japanese elements – such as kabuki theatre movements and makeup, puppets, and traditional clothing - made this production much more modern and immediate. .
I also attended the performance of Mozart’s opera, The Magic Flute, directed by the talented theatre director Julie Taymor. Who is famous, of course, for her direction of The Lion King on Broadway.
How ‘popular’ can you get ?
I love her work, by the way, and for me, ‘popular art’ is NOT a derogatory term.
Moreover, using these elements from the popular forms is part of the ingenius as well as Genius Marketing Vision of Gelb – reaching out in different ways to the Young Audience, in order to cultivate and build the future audience for the Metropolitan Opera in New York in particular, but also for Opera in general.
In a thoughtful and inventive attempt to make the opera more accessible to people who are not used to this art form, the Magic Flute was sung in English.
And it was cut to a shorter 100 minute length, as a special draw for kids ranging from 8 to 18 (from what I observed during that matinee performance on a Saturday afternoon) – the audience of the future.
Remember, we are talking about the people of the sound byte. The people of the instant messenger and text messaging. The people of Short is sweet.
It was also a colorful, delightful fiesta - a public celebration of music, dance, sight, sound, and more.
There was true magic in Taymor’s weaving together of old and new elements: incredibly modern and symbolic use of revolving sets, and old style Dancing bears, flying birds, and even a giant serpent.
The clowns of the circus of yore met and waltzed with the abstract art of today. And in that dance, they came into diverse combinations. They harmonized with each other; they counter-pointed one another; they clashed.
Above all, the sum was greater than the parts.
The adults as well as the children of all ages in the audience were focused and entranced during this almost 2-hour long carnival. The fact that they rarely moved around, and kept consistently silent, told me that they were all mesmerized.
You know how rambunctious kids can be - even in the most arresting movie.
I can easily see this production affecting young people of all social strata and backgrounds, due to the use of non-verbal , universal, archetypal symbols.
HERE IS A PERSONAL WISH: Mr. Gelb, extend the reach of this opera, in its magic production, to the diverse audience of kids and teens of all races, ethnicities and colors throughout the five boroughs.
How: by inviting the kids, or making tickets accessible financially and literally to kids, in all the five boroghs whose parents cannot pay for the tickets.
If you have your own wishlist here, let me know, OK?
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