#this is actually about schikaneder

[finelythreadedsky]

very, very sexy to use the opening number of a musical to structure the entire show as a flashback

[princesssarisa]

Character ask: Sarastro (The Magic Flute) and my OC Alesta (An Eternal Crown)

Tagged by no one, but inspired by @madmozarteanfelinefantasy

Sarastro

Favorite thing about them: His belief in peace and forgiving his enemies, as expressed in "In diesen heil'gen Hallen"

Least favorite thing about them: It's a tossup between his sexism, the fact that he's a slaveowner, and his general streak of ruthlessness in the name of "the greater good," especially at Pamina's expense.

Three things I have in common with them:

*I believe in peace.

*I like the feeling of belonging to a spiritual community.

*I can be stubborn about what I think is right or wrong.

Three things I don't have in common with them:

*I think slavery is appalling.

*I'm nowhere near as firm in my beliefs and convictions.

*I can't sing those low notes.

Favorite line: In diesen heil'gen Hallen, Kennt man die Rache nicht. - Und ist ein Mensch gefallen; Führt Liebe ihn zur Pflicht. Dann wandelt er an Freundeshand, Vergnügt und froh ins bess're Land.

("Within these sacred portals, revenge is unknown, and if a man has fallen, love guides him to his duty. Then, with a friend's hand, he walks, glad and joyful, into a better land.")

brOTP: His fellow priests.

OTP: I'm with you, @madmozarteanfelinefantasy – nobody.

nOTP: Pamina or the Queen of the Night. As much as I like the Bergman film, I agree that it's incredibly tedious and annoying to see "Sarastro is Pamina's father and the Queen of the Night's whole war against him is just an overblown divorce battle." AGAIN and AGAIN and AGAIN by new adaptations! And as for the alternate, less popular but no less valid theory that Sarastro is secretly in love with Pamina... as an interpretive choice, I have mixed feelings about it, but would I ever want them to actually become a couple? No possible way!

Random headcanon: He wasn't the founder of the brotherhood, but an orphan whom the priests took in and raised, and who grew up absorbing and mastering their teachings until he finally became their leader when the previous High Priest either died or stepped down due to old age. The parallels with Tamino are obvious. This is canon for Alesta in An Eternal Crown (see below).

Unpopular opinion: I'd rather see him portrayed as a morally gray character than either a flawless paragon of wisdom (which by modern standards of ethics, he clearly isn't) or a villain (which would require a complete flip of Mozart and Schikaneder's intent and leave Tamino and Pamina's future as uncertain at best, bleak at worst).

Song I associate with them: "O Isis und Osiris"

"In diesen heil'gen Hallen"

Favorite picture of them:

Unknown bass:

Kurt Moll, Metropolitan Opera, 1991:

Unknown bass, National Theatre, Budapest:

Georg Zeppenfeld, Covent Garden, 2015:

Unknown South African bass from the Isango Ensemble's Impempe Yomlingo:

Morris Robinson, Metropolitan Opera, 2019:

Alesta, the female Sarastro figure from my gender-bent Magic Flute retelling, An Eternal Crown

Favorite thing about them: Her belief in peace and forgiving her enemies, and the safe haven she provides for the poor and oppressed to heal and thrive.

Least favorite thing about them: The fact that she's so absorbed in her ideals that she's slightly detached from other people's emotional needs and pain. She's less ruthless than Sarastro can be, but she still shares this flaw with him. In her case, though, it at least has an explanation: her backstory is a trauma conga line to rival that of Obi-Wan Kenobi, whose characterization is an influence on hers.

Three things I have in common with them:

*I believe in peace.

*I'm a bit of a loner.

*I sometimes use spirituality to cope with inner turmoil.

Three things I don't have in common with them:

*I'm younger than she is.

*I'm more emotional than rational/philosophical.

*I've never been homeless or a near-victim of genocide.

Favorite line: Her final line:

“At long last, my friends, morning has truly come!”

brOTP: Her fellow priestesses, especially Imara, the equivalent of the Speaker. And in her backstory, the now-dead Queen Lusina, wife of King Vorteyo (male Queen of the Night) and mother of Zeran (male Pamina).

OTP: Nobody in the present, but possibly Lusina. Their bond isn't explicitly romantic because I didn't want to pull a Bury Your Gays, but still, the details of their friendship explicitly parallel the Sarisa/Zeran (Tamino/Pamina) romance in some ways, Lusina eventually died in Alesta's arms, and it's clear that deep down Alesta is still grieving the loss and that this is partly the cause of her aloofness. (I've often said to myself that in the above-mentioned Obi-Wan Kenobi comparison, Lusina is the equivalent of both Padmé and Duchess Satine.)

nOTP: King Vorteyo or Zeran, for the same reasons the Queen of the Night and Pamina are my nOTPs for Sarastro.

Random headcanon: She'll eventually find her own romantic love, some time after the novel takes place. It will be with another older person, and it will be a gradual, none-too-easy process, but it will happen and it will change her for the better.

Unpopular opinion: An unpopular opinion about my own creation? I'll wait to share one until more people know her besides me.

Song I associate with them: Sarastro's two arias (see above). Just imagine them sung by a mezzo.

Favorite picture of them: None exist yet outside of my mind.

@ariel-seagull-wings, @superkingofpriderock, @vogelfanger1984, @notyouraveragejulie, @cjbolan, @madmozarteanfelinefantasy

[emptymasks]

I’ve seen a lot about your thoughts on Elisabeth and Tanz der Vampire, and they’ve been really helpful getting into those musicals! But you have a huge list of other musicals that people can get into…

So I was wondering if you had any musicals you hadn’t mentioned in a while that you really like or would like to talk about??? (preferably something from your lists that has a blue heart please?)

Oh if only you knew how long the list of European musicals really is... I however have only seen 9 (if I counted right) and I have a lot more that I still need to watch. Oh also, I only put the blue hearts on any musicals that I was providing multiple links for so people could see which version I reccoment the most highly. If a musical only had one link and didn't have a blue heart it doesn't mean I didn't like it.

I've watched: Mozart das Musical, Elisabeth das Musical, Tanz der Vampire, 3 Musketiers, Mozart L'Opéra Rock, Dracula (the Graz production), Rebecca das Musical, Roméo et Juliette and Schikaneder.

If you enjoyed those two you're likely to enjoy Rebecca! It's written by the same composer/lyricist team as Elisabeth and Mozart (and same lyricist as Tanz der Vampire - though if you're listening to any German musical, original or translated, 90% of the time the lyrics will have been done by Michael Kunze that man is everywhere). The Stuttgart production has my favourite set design of any musical! Well... Actually probably. There are so many big set pieces it's insane, way more than I've seen in some Broadway and West End musicals. You can tell so much work went into it and the visual effects that I won't spoil if you don't know the plot but if you know the plot you know what I mean by the effects at the end are so good and I didn't expect them at all and I freaked out so much the first time I watched it. Jan Ammann as Maxim in the Stuttgart production is the best Maxim. No I won't take any argument. Other actors feel a bit one-dimensional to me, but the way Maxim acts at times comes from trauma and some actors and productions seem to forget that, but Jan really goes for it and his Maxim is a lot more sympathetic and I just want to give him a hug. Pia Douwes as Mrs Danvers, if you've seen her in Elisabeth what more do I need to say, she's amazing. A musical goddess. Her Danny is a bit more wild than some, but she kills it. My favourite video, which I put the blue heart next to, has understudy Christina Patten as Ich/I, but I adore her she's my favourite. She adds some spunk to Ich in act 2 and her voice is so pretty and aaaa. I just love these three actors together in these roles.

Roméo et Juliette is another favourite of mine! It's hard to choose which one to recommend, but it has to be the original 2000/2001 production because of the sweetness and chemistry and voices of Damien Sargue and Cecilia Cara as Romeo and Juliet. They're so pretty and work together so well. The only reason I say it's hard to pick is Mercutio. I adore him, but in the original production they cut out a song they had planned for him and he doesn't really do much at all? In the 2010 revival they gave him two more songs and you care about him so much more and John Eyzen plays such a good Mercutio. So I'd recommend the original but if you want to like Mercutio more, which you should he's amazing, I'd recommend watching at least clips of John's. It's an interesting musical because all productions are non-replica and also change around the order of songs, add or take away characters, all sorts. The Hungarian production is also very popular and I'm sure it's great, I just haven't' gotten around to watching it yet.

Mozart das Musical was the first non-English language musicals I watched so I have a fondness for it, but it's not my favourite. However, I do realise I have forgotten most of the songs and the few I've gone back and listened to are better than I remember.

Dracula isn't super popular and I understand why, I don't love the plot of the Dracula/Mina romance in it, however. I do love this musical because despite how I find the plot lacking, the songs are so good! At least, I love them. And the actors are all doing a great job. And it's one of the few Dracula adaptions to keep Quincy Morris so they get bonus points for that.

Mozart L'Opéra Rock and modern French musicals... This isn't necessarily a bad thing, but they're often more like pop-rock operas now. So if you're not into musicals with that style of music it might not be for you, but I still enjoyed it even though I didn't think I would because of the style of music. Mozart and Salieri's chemistry is very good, Salieri's bisexual crisis song is iconic, actually all of Salieri's songs are iconic.

Schikaneder... eh. I didn't like it that much and I didn't really like any of the songs. There's no English subtitles, but someone sent me the entire English synopsis and I watched it with a German friend so I had double the help of understanding it. Doesn't mean others might not like it, just none of the songs stood out to me and I had no desire to listen to any of them again. It's by Steven Scharwz of Wicked fame and I love Wicked, but I didn't love this.

3 Musketiers!! God it's so underrated and not spoken about within the European musical fandom that I even forget about it and literally forgot to write about it earlier in this post. It's a Dutch musical (though did also have a German production) and it's really good!? Faces you might know are Pia Douwes as Milady de Winter, Stanley Burlseon as Cardinal Richeliu (Netherlands Der Tod in Elisabeth), Henk Poort as Athos (Netherlands Phantom and Jean Valjean). The dialgoue is funny, the songs are good, some of the set pieces have no right to exist in this tiny musical?? They made this giant boat and pelt the actors with rain just for one 5 minute song and then we never see the boat again? And while I recommend the Dutch one because Dutch musicals deserve more love and it has official English subtitles!! Official ones, not fanmade! I have the DVD and it comes with English subtitles (and Dutch and German subtitles) which is so nice. The German version is also good, good cast, Pia came back and Uwe Kroger as Richeliu and omg they rearranged the songs and the German arrangement of Nicht Aus Stein is insane and amazing and frankly iconic.

That's all of the ones I have watched. Next on my list to watch are Rudolf and Notre Dame de Paris, both of which I have listened to some songs from and already love (I've listened to way too much of Notre Dame de Paris and am so in love).

I want to start organising streams where I'll host the musical either by getting the video from Youtube or my own files and anyone who wants to join can come along and watch with us, chat with us if you want or just watch there's no pressure to chat. I thought about doing weekly streams? This would also make me finally watch some of the ones I've been meaning to for ages. But I keep wondering about time zones. I'm in the UK and would want to stream at about 11pm at the latest (11pm BST/GMT+1 as we’re in daylight savings at the moment, if the streams continue past the end of October which would be wild then I’ll make a note of the time change that would be to 11pm GMT), which I know can work for other UK and Europeans, but for any Americans would be in the afternoon. So, I wondered if doing it on a weekend would be better? Then it doesn't matter if it's in the afternoon? Maybe Saturday evenings then? It would either be Saturday evenings UK time or Friday evenings UK time. What do you guys think? If people are down then I'll make a separate post with a list of what we'll be watching each week and if anything happens to me that means I can't stream one week then everything will just get pushed back a week, but I don't see that as likely to happen. And I'll only be streaming those that have English subtitles, so don't worry about not being able to understand anything.

edit: am also open to 10pm bst if others want that, im just trying to think of what time works best for everyone so sorry if 11pm is a little late for europeans, i know 10pm could be a little early for americans. also in case it sounded like these are the only musicals i will be streaming, thats not so, ive got more than just the ones mentioned on this list!

(Tagging some people who I know are or might be interested in streams to see what you think of that plan: @sirona-art @ringwraith100 @tanz-der-trash @smilingwoland @the-weird-dane @witchgaye @ami-fidele @kisstheghouls @looking-4-happiness @ladysapphire928 @sloanedestler @tinywound @persephonaae @phoenixdewinter @uwucoffee @freshbloodandgothicism )

[tendaberry]

Lol I think the three ladies from the magic flute might fit into this too….think schikaneder and Mozart based them off of operatic primadonnas, who Mozart kind of liked to lampoon (there’s a whole little opera about egotistical singers and actors he entered into a royal competition against salieri lol….aloysia weber and her husband Joseph lange were in it, as was caterina cavalieri—salieri’s actual gf, in Amadeus she’s portrayed as Mozart’s while salieri hopelessly pines after her hahah)

Idk it’s like a weird mixture of that lineage and like, u know, enlightenment misogyny

[andrewlloydwebber]

Secret Santa here! I’m really excited for you to get you gift, I hope you’ll like it! You said you’re very anti-LND, did you get the chance to watch the tour? I’m not a huge fan of it either, but was curious because people who watch it live seem to like it, probably because they’re stunned by the visuals. And let’s talk about other controversial musicals: which ones do you think are overrated and which are underrated in your opinion? 🎄

I briefly considered going, but decided I didn’t want to spend the money just to be pissed off the whole night. Yeah, everyone I know who went was stunned by the visuals and the cast but my friend put it best “Every time they opened their mouth to say something I was baffled”. Yeah, it seems like we’ve reached the point where there are unironic LND stans who either stan the cast members but admit the plot “needs work” (in actuality it just will never work) or they truly refuse to believe anything is wrong with it because, as one instagram commenter said, “it makes eristine canon so who cares” (side note the word eristine makes me see red)... like even if you think the phantom and christine should get together, LND is still illogical and does a disservice to their characters.

frankly i do not get the hype around DEH and how it’s supposedly life changing. i think pasek and paul were irresponsible in writing it. even when i was a teenager, i still didn’t particularly care for heathers which is just kind of amateurish in it’s execution, in my opinion. an underrated musical is schikaneder, which is by stephen schwartz and has only ever been performed (in germahy) in vienna. and it will probably never get another production. 

[courtneysmovieblog]

In Defense of Stanzi

If there’s one thing that the real Constanze Mozart has in common with the film version in Amadeus, played by Elizabeth Berridge, it’s that both of them were maligned and slut-shamed by critics.

Seriously, in almost every critical review I’ve read, Berridge was dismissed as the weak link.  She’s reduced to the bubblehead, the bimbo, the pretty little doll only there for eye candy who turns into yet another nagging wife trope.

To those people, I say this: watch the director’s cut.  And if you already have, then watch it again, and this time pay more attention to what she says instead of staring at her cleavage.

While it is true that Constanze has a smaller role compared to the original play, she still retains depth.  Anyone that thinks otherwise need to see the director’s cut of the movie -- and if you already have, then try to pay more attention to what she says instead of staring at her cleavage.

The Stanzi we meet in Amadeus at first appears to a pretty little groupie that’s as silly and immature as Mozart.  Salieri witnesses them rolling on the floor, fooling around at a fancy party and playing obscene word games.  Not exactly a good first impression, true.  But once after she and Mozart marry, we see another side to her.

For one thing, she’s actually pretty smart.  Not book smart, but street smart.  Women in Mozart’s day weren’t expected to know much about anything other than putting out and wearing pretty dresses, but she knows how things work in Vienna.  She tries warns Mozart how fickle the music lovers can be and not to bank on their goodwill for financial security.  She gives serious side-eye to Schikaneder’s (Simon Callow) seemingly promising commission for a vaudeville opera, pointing out that there is no down payment.  She’s savvy enough to know that it might not be a good idea to depend on her husband’s drinking buddy.

Nobody listens to her, not even Mozart.  He’s too prideful to even interview for for the job of tutoring the Emperor’s niece.  So Stanzi takes matters into her own hands and goes to Salieri herself with his examples of her husband’s work.  

That turns out to be a mistake.  

I will never understand why Milos Forman cut the scene of Salieri trying to extort her for sex in exchange for getting Mozart the position.  Not only was it a crucial scene in the original play, but it also demonstrated the depths that she was willing to go to on Mozart’s behalf.  More importantly, it explained why she’s so hostile to him at the end of the film when she finds him at Mozart’s bedside.  But I’ll get back to that in a minute...

Stanzi is at first horrified by Salieri’s price.  It’s a real #metoo moment that’s gross on so many levels.  The worst part is that it’s not really about her at all: Salieri wants to get back at Mozart for sleeping with his favorite pupil.  But she doesn’t know that.  All she knows is that Mozart needs the job.  So she returns to Salieri’s place later that night, as demanded.  Some viewers complain that she looked a little too eager to follow through on her part -- and those people can kindly STFU.  Talk to anyone that’s been sexually harassed at work and felt obligated to put a smile on their faces because their livelihood depended on it.

What Salieri actually does is worse than forcing himself on her.  He waits until she’s standing half-naked in front of him before he rings for his servant and throws her out.  Stanzi is humiliated, knowing that she almost whored herself for nothing.

The worst part is that she can’t tell anyone, not even when Mozart finds her crying in the bedroom.  Nobody would believe her; if Salieri successfully managed to smear Mozart’s reputation so that nobody would hire him, imagine the story he’d spread about her!  All she can say, even as Mozart holds her and tenderly begs her to tell him what’s wrong, is that she loves him.

For all the other dysfunctional aspects of their marriage, they do love each other.  Anyone that complains that Stanzi was too busy worrying about money to appreciate Mozart’s art clearly missed the parts where she avidly listened to all his concerts and operas with a fond smile.  She’s quick to defend him from anyone; she pointing out how hard he works, even as she admits that he isn’t practical.

However, in some moments, she can be as naive as Mozart.  She isn’t suspicious when Salieri’s servant girl pops up to offer her services.  She also doesn’t have a problem with a mysterious masked man (aka Salieri) commissioning a requiem for Mozart.  As long as he’s paying actual money, he’s trustworthy.

Sadly, it’s that event (and all their monetary problems) that takes a toll on their relationship.  An increasingly paranoid Mozart withdraws deeper into the music in his mind, leaving Stanzi feeling afraid and neglected.  Even when he confesses that the requiem is killing him, she doesn’t believe him.  Yet despite thinking he’s crazy, she still tries to be supportive, begging him to let her stay up with him.  He sneaks off the second she falls asleep.  And it’s that act that ultimately drives her away.

While we feel bad for Mozart, we can’t blame Stanzi either.  Anybody would have done the same thing, especially when a child is involved.  But that doesn’t make it any less sad.

However, here’s the thing that’s important to remember: she comes back.  She comes back because despite everything, she still loves him.  She’s worried about him, and she can’t bring herself to abandon him to a miserable fate.  Maybe getting away cleared her head, allowing her to second-guess the motives of the mysterious masked man.

So she and her son return to find Mozart dying.  There is one last lovely moment between the couple, with her asking him to simply show him that he needs her from now on.  That’s all she wants.  He’s too weak to reply; all he can do is just to reach up to hold her.  

Unfortunately, Salieri is there too.  Because of their earlier encounter, she’s immediately suspicious.  She knows he screwed him out of the tutor job and therefore isn’t the concerned friend he pretends to be.  She was even more alarmed when he finds out he’s been helping him write the requiem that’s affecting him so badly.  

So she takes away away the requiem and demands that Salieri leaves.  He refuses.  They argue.

And while they’re distracted, Mozart dies.  

It’s a terrible moment for Stanzi.  To reunite with their husband only to have him die moments later?  It’s something right out of an opera.  The final scenes of her weeping at that pathetic funeral is just awful; the veil covering her face can’t hide the guilt and agony she was going through.

So in conclusion, much like in real life, the movie Constanze deserves more credit than what some viewers give her.  Was she perfect?  No.  But she was strong in her own right, and she sure as hell was no bubblehead.

[quaquaversall]

Hello Brooklyn-All time low, Bare Min-Morgan Sulele, Battle Scars-Paradise Fears, Cliffs Edge-Hayley Kiyoko, Dance to this-Troye+Ariana, Lasse redn-Die Ärzte, Ease-Troye Sivan, Far from perfect-Rise Against, Feel Invincible-Skillet, for him-Troye, Fun-Troye, Galway Girl-Ed Sheeran, Good Life-Keiynan Lonsdale, Viva la gloria-Green Day, Haper du har plass-Cezinando, Have it all-Jason Mraz, High Hopes-PATD, Higher Ground-Rasmussen, I feel like dancing-ATL, I found a girl-The Vamps

Pt. 2: “Jovial-Freddy Kalas, Just like you-Louis Tomlinson, Killer Queen-Queen, Kiss the boy-Keiynan Lonsdale, Love Myself-Hailee Steinfeld, More-Moana, Most Girls-Hailee Steinfeld, Neverland-Zendaya, Power-Little Mix, Pretty Girl-Hayley Kiyoko, Pretty Girl-Maggie Lindemann, Stand by you-Rachel Platten, Radio-Friendly Pop Song-Matt Fishel, Saviors of the World-Skillet, Rollercoaster-Bleachers, See me now-Little Mix, She looks so perfect-5sos, Strawberries + Cigarettes - Troye Sivan”Pt. 3 (you sent in three whole asks freaking heck that must have taken so much time you’re so sweet ahhhh): “Träum groß - Schikaneder im Raimund Theater, There for you - Marin Garrix + Troye Sivan, This side of paradise - Hayley Kiyoko, Time warp - RHPS, Typisk Norsk - Katastrofe + Alexander Rybak, Ugly Heart - GRL, Vi er perfekt men verden er ikke det - Cezinando, What I need - Hayley Kiyoko, Defying Gravity - Wicked, Wild Heart - Bleachers, You’re gonna go far kid - the offspring, You’re such a-Hailee Steinfeld. Some of the songs on my ‘casually happy’ playlist :)”You are the absolute sweetest human. Thank you so much for taking the time to send in all this. I’ll definitely listen to these later (I’ll probably be raring to talk about them tbh) and I just, thank you. So much. I wasn’t expecting anyone to actually send in anything and this is just so kind. Thank you, friend 💙💙💙💙💙💙

[philosophyunbound]

Call: Making Kin - Philosophy Unbound #24

CALL FOR CONTRIBUTIONS   - English version below - PHILOSOPHY UNBOUND #24: MAKING KIN                                  

Make kin, not babies – so lautet Donna Haraways Leitspruch in Zeiten voranschreitender ökologischer und politischer Gefährdung. Make kin in unhinged times! Philosophy Unbound lädt zum gemeinsamen Nachdenken über Gemeinschaftlichkeit, neue Verbindlichkeiten und Allianzen jenseits der tradierten Formen Familie, Patriarchat, Amt und Institution ein. Wer darf wie mit wem in welchem Zusammenhang Familie sein? Wer sich mit wem wie solidarisieren, „auf ein Packl hauen“, aufeinander bauen und verlassen? Und wer ist jetzt eigentlich „fix zam“?

In den radikal neuen und katastrophalen Zeiten, die wir mit Namen wie Anthropozän und Kapitalozän zu fassen versuchen, werden neue Formen der Weltteilhabe, des Welt-Teilens und -Mitteilens erforderlich, um das gute Leben und Sterben für möglichst viele auf der Erde zu ermöglichen. Wie finden wir uns auf diesem vergifteten, verwüsteten, ruinierten Planeten neu ein? Wie möchten wir uns ein gemeinsames Leben und Sterben jenseits toxischer Normen vorstellen? Wie können wir uns, auch ohne die biologische Familie zu bemühen, Sicherheit und Zuflucht schaffen? Wie können uns queere Lebensweisen mit dem Chaosmos versöhnen und -schwestern? Wie lässt sich das neugeschaffene Zusammen gegen Widerstände behaupten? Und was passiert, wenn das Neu-Geschaffene sich wieder auflösen will, es aber nicht darf? Oder kann?  

Philosophy Unbound #24 wird am 25.5. im Rahmen eines Festivals zu Donna Haraways Begriff des making kin stattfinden. Hierfür suchen wir nach Geschichten, Praktiken, Performances, Vorträgen, Tänzen, Ritualen, Liedern zu diesen und ähnlichen Themen. Wir wollen einen Raum für Kollaboration und Kinship kreieren, der über drei Tage (24.-26.5.2019) im und rund ums Schikaneder-Kino seine Tentakel ausbreiten wird. Schickt uns eure Vorschläge bis 1. Mai 2019 an philosophyunbound@gmail.com.

Wir freuen uns! Euer philosophy unbound Team 

------------------------------------------------------------------------------------

CALL FOR CONTRIBUTIONS                                            PHILOSOPHY UNBOUND #24: MAKING KIN                                      

Make kin, not babies - this is Donna Haraway’s appeal in times of growing ecological and political devastation. Make kin in unhinged times! Philosophy Unbound invites you to think together about community, new commitments and alliances beyond the traditional forms of family, patriarchy and established institutions. Who may consider whom family and in what context? Who is allowed to declare solidarity with whom? To team up? To rely on one another? And who is actually "fix zam"?

In the radically new and catastrophic times which we’re trying to grasp with names like Anthropocene and Capitalocene, new forms of sharing the world, world-participation and response-ability are needed to enable the art of living and dying well for as many earthly critters as possible. How do we recollect ourselves on this poisoned, devastated, ruined planet? How do we want to imagine a common life and death beyond toxic norms? How can we create security and shelter beyond the biological family? How can queer ways of life reconcile us with the Chaosmos? How can newly created cooperations take a stand against resistance? And what happens if the newly established wants to dissolve again but can’t or isn’t allowed to?

Philosophy Unbound #24 will be part of a festival on Donna Haraway's concept of “making kin” and will take place on the 25th of May. We invite you to contribute stories, practices, performances, dances, lectures, rituals, songs, etc. on these and similar topics. We want to create a space for collaboration and kinship which will spread its tentacles in and around the Schikaneder cinema during three days (24-26.5.2019). Send us your proposals until May 1st 2019 to philosophyunbound@gmail.com.

We're looking forward to your submissions! Yours truly, the philosophy unbound team

Image Credits: Fabrizio Terranova

[firestorm717]

Hello, for some reason when I google 'Schikaneder bootleg' google has your blog in the search results but then only shows a post about les mis, but do you maybe happen to know if there's a video of Schikaneder somewhere because I would actually sell my left leg for it 🙃

I don’t know why my blog showed up in your search, since I never posted a Schikaneder bootleg. I heard on the grapevine that a video exists, but the master won’t release it because the quality is poor and it ends partway through act 2. Not sure if there are other bootlegs circulating privately among German musical traders. A year or two ago, some masters were arrested for filming and selling shows, and since then, bootlegs have been scarce out of Germany/Austria...

[andrewlloydwebber]

Will Schikaneder come to broadway?

schikaneder will flop on broadway unless it gets hugh jackman or josh groban or someone of that caliber. and even then it would probably flop after they left unless it won a shit ton of tonys. it also would need a big stage for the turntable.

the subject matter just isn’t marketable. if they flopped in vienna, where there would probably be more interest and people might actually know who emanuel schikaneder is... idk about broadway. even if they can write “from the composer of wicked” and “from the director of les mis”.

but i think they are making plans to go to broadway (with mili!!!!!) katie hall will probably be there too. but i’m not getting my hopes up