求faith大大的fate的百合同人文 谢谢～_百度知道
求faith大大的fate的百合同人文 谢谢～
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童鞋 我分不出来
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，非常感谢，这个实在不好找。...
，非常感谢，这个实在不好找。
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5. Camping the Sacred: Homosexuality and Religion in the Works of Poulenc and Bernstein
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5. Camping the Sacred Homosexuality and Religion in the Works of Poulenc and Bernstein The last act of Francis Poulenc’s 1957 opera Dialogues des Carmélites famously concludes with a mass execution. Sixteen Carmélite nuns, arrested and condemned to death by an eighteenth-century French revolutionary tribunal, submit, one by one, to the blade of the guillotine while singing a full-throated rendering of the Salve Regina. The second-last to be decapitated, Constance, spots in the crowd her friend Blanche, who had fled the Carmel when the nuns (in act 2) chose to take a vow of martyrdom. When Constance is killed, Blanche, out of solidarity and in a mystical reconfiguration of her most characteristic personality trait—fear—into courage, ascends the scaffold. In front of a mesmerized crowd (and thanks to an inexplicable administrative blind eye by the revolutionary henchmen) Blanche, too, offers her neck and, while intoning the Veni Creator, meets the same fate as her erstwhile sisters in prayer. No doubt, this is “serious” stuff. Poulenc’s Latin chorus operates an imposed decrescendo as each voice is eliminated, while the unabated screech and thud of the guillotine (meticulously indicated in the instrumental nomenclature of the full score) gains in intensity through the thinning texture. Operating against the accumulative logic of the traditions underpinning “grand finales,” the scene moves with the support of an inexorable march tempo from the collective to the intimate, from communal martyrdom to personal sacrifice. It closes quietly with inchoate murmurings—a subdued, confused “ahhh”—sung by the choral masses grouped offstage. No doubt, for some (like me), this “serious” stuff also tends to fail in its seriCHRISTOPHER MOORE 74 Christopher Moore ousness. Poulenc’s tonal ditty, which some of his most supportive French critics felt smacked of bad Puccini (though they didn’t write as much in 1957), sounds sweet, seductive, even treacly for a scene so wantonly bloody, so terribly murderous .1 Poulenc’s Dialogues were inspired by a text composed for the cinema, yet would our (or my) cinematic ears not find this music uncanny if it were actually employed as an extradiegetic accompaniment to a filmed massacre identical to the one that Poulenc depicts on stage? Do I (or we) find their deaths hard to take (entirely) seriously because of those pretty little harp flourishes that follow each swipe of the blade and which seem to suggest that the nuns’ souls are magically ascending up to heaven on the path of so many aural tickles? Isn’t Constance’s little leitmotif (which we hear in the orchestra as she sees Blanche emerging from the crowd) with all the pleasant na?veté evoked by its ascending major sixth, a little hard to take seriously, sung as it is while she practically stands on the corpses of her sisters? Yes, I hear your objections: “The Carmélites are sacrificing themselves for their Redeemer. Their death is an earthly one only. Through their sacrifice they are convinced that eternal life awaits them. It is for this reason that they mount the scaffold with determination and even joy.” Yes, and you will say before I interrupt you, “That explains why Poulenc chose to preface his score with a quote from St. Teresa of Avila: ‘Let God save me from gloomy saints.’” And if you have written a long book about Poulenc, as Hervé Lacombe has done, you would also interject to say that this is part and parcel of Poulenc’s aesthetic plan, that “the surprising formula of sensuality within violence is one of the keys of the opera.”2 Fine, who can argue with Carmélite faith, Poulenc, a Spanish saint, and the somber reflections of a Frenchman on a national treasure? Lacombe informs us that ninety-four critics from around the world, including a well-disposed French “delegation” were on hand for the Scala premiere, and that furthermore, according to Poulenc himself, a claque was in full operation. Yes, it really is hard at times to giggle against the grain. But what if that striking formula, “sensuality within violence,” at least in this particular case, lays bare something that strikes you as strange, bizarre, and even a little bit queer about this violently sensual or sensually violent ending?3 (Considering that I am speaking here about that “extravagant art,” it wouldn’t be the first time that the best-laid aesthetic plans were in such a manner undermined, subverted, or exaggerated.)4 Can you imagine how much blood would...
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