Opera and Film in the Loop: Persona Speaking, Persona Singing. A Conversation with Composer Keeril Makan

Research output: Contribution to journalArticlepeer-review

Abstract

Two women, Ms. X and Ms. Y, unexpectedly encounter each other in a restaurant on Christmas Eve. While Ms. X, who is busy shopping for her family's presents, engages in a continuous monologue, Ms. Y remains silent. Immersed in illustrated magazines, Ms. Y responds solely through facial expressions and body language. The narrative takes a turn as it unfolds while Ms. X reveals her husband's affair with Ms. Y. Initially, it seems that the married woman is imparting a lesson to her single rival, yet the overpowering silence from the other side complicates the dynamic. Strindberg demonstrates that, regardless of her societal standing, security, and authority, the married woman emerges as vulnerable and hysterical. The torrent of her passionate words rebounds against the wall of silence projected firmly from the other side. However, the disturbing hegemonic gaze of the same invisible, absent, “beloved man” governs them both. This encapsulates the essence of August Strindberg's short play The Stronger (1889).
Original languageEnglish
Pages (from-to)91-103
Number of pages13
JournalOpera Quarterly
Volume38
Issue number1-4
DOIs
Publication statusPublished - 2024

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