#Le Balcon
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If we behave like those on the other side, then we are the other side. Instead of changing the world, all we'll achieve is a reflection of the one we want to destroy.
— Genet, The Balcony; Le Balcon, 1956 (Grove Press, January 21, 1994) (via thoughts)
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handwritten letter from Jean Genet - 20 novembre 1985
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Round 2 C Match 2
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Propaganda under the cut
Le Balcon
it's romeo and juliet. do i need to say anymore
a Breakfast over Sugar (In Trousers)
It’s so beautiful and heartbreaking.
Marvin’s wife having figured out he’s cheating on her with a man begs him to stay anyway. Marvin repeats that him leaving would be better for the both of them.
In the script there’s a note: “His WIFE, understanding everything, wants him to stay. MARVIN wants to go. Or MARVIN wants to stay. She wants him to go. Anyway, he’s going.”
And everything’s just so unresolved and the two parts tangle with each other and convey so much emotion with their beautiful harmonies.
The part where they sing over each other like “Pass the sugar please - I can’t believe we’ve worked - you can’t go on as if you’re dying - to end up this way - the martyr just won’t play hit me, strip me - strip me down but STAYYYY” has me constantly in tears completely breathless. The wife’s vocals and raw emotion just.
#round 2#musical theater#romeo et juliette#romeo et julliet musical#in trousers musical#in trousers#le balcon#a breakfast over sugar
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Ranking the ‘Romeo Teases Juliette at the Balcony’ Moment From Every Production Because This Is Important, Trust Me
French: 10/10, classic, subtle, and the most romantic. Juliette’s WTF expression when she hears Roméo is perfect and meme-worthy. I also like how aggressively smooth the tease is—Roméo remaining under the balcony and then just walking out normally at the third line of his verse. You’re not fooling anyone, Roméo. I also like how at one point Roméo raises his hand as if to interrupt, but then decides against it (hello, Shakespeare Romeo! So good to see you). And then Juliette is just 🥰 over him, ha #same
English: 0/10. No tease, but worst of all, they begin the song already on the balcony AND with dialogue together, for no good reason!!! Once again: Shame and dishonor on this production. Idaho RetJ has a pretty low bar to clear on that front.
Russian: 8/10, cute as all hell. Russian Juliette at first is mostly just curious, looking around for the voice and HOLY SHIT freakin’ Russian Romeo just leaps out of freakin’ nowhere and she is just “eep!” and just hides behind her balcony railing like a startled cat. Incredible.
Hungarian: 9.99999/10, Rómeó straight-up LITERALLY teases her. I am dead. Júlia had ovaries of steel to have withstood that with just a rueful laugh. That said, I’m a little disappointed that he didn’t stay purposefully hidden like the others for the three lines; that would be so in line with Hungarian Rómeó he’s such a troll. Understandable, though, because of the non-balcony set up they have.
Austrian: 9/10. Still one of the best and most obvious teases, very faithful to the French. Freakin’ Austrian Romeo purposefully hides away from Julia while she is actively looking for him and then the way he charges upstage and soars on the (changed) high notes in declaration…YES. 100000 points to Gryffindor.
Mexican: 5/10, pretty much no tease. Romeo is exposed along the wall and has to prepare himself to even speak to Julieta, poor baby. Unfortunately the editing doesn’t show Julieta’s initial reaction, but she does look so damn overjoyed, d’aww. I forgive it (also the translation is so, so close. Painfully slow tempo, though).
Revival: 7/10. Roméo starting stage right and then scurrying over to the balcony gives such “Don’t let her see me don’t let her see me run run run!!” vibes, I’m crying. That said, Juliette isn’t even surprised here. She hears him and it’s all, “Oh, love of my life’s here, aw, fiddlesticks, my hair’s a mess, lemme fix it.” -.- I know she has limited room to react compared to original Juliette, but c’mon.
Takarazuka: 4/10, no tease either. Takarazuka Romeo just climbs directly (with stairs!!! I swear these Romeos just get lazier with each production). Takarazuka Juliette’s :O is super cute, though, so anime, so points for that. C’mon, y’all.
Italian: 5/10. Romeo opted for the Freudian pillar. -.- I…suppose that can be considered a tease. Either way, this is really borderline between hilariously fun and hilariously awful. The rest of the Balcony was solid, though, minus the unnecessary Shakespeare. (Also, rewatching it, they actually framed Romeo’s verse as a monologue that Giulietta doesn’t hear until almost the very end. Nope. Downgraded for that).
Toho: 5/10. No tease, but we do get Black!Romeo looking adorably 🥰 when Black!Juliette says his name. He hesitates for a moment before climbing the balcony railing à la French (finally!). Juliette is also :O though not as adorable as Takarazuka R&J. So a little extra bump for the cute reactions.
Chinese: 6/10. The latest RetJ! Pretty much a Revival copy, very sweet and laidback. Romeo hides as soon as he hears Juliette, Juliette is just about to go in, but then hears Romeo’s voice. Finds him too easily, though, knows exactly who he is. Lame, but there is something to be said about the lack of drama of it all. Once again, though, Chinese Juliette does the self-conscious fixing-hair thing. Kill it with fire. (Edit: There is actually a second Balcony with a different Juliette, or at least in a different dress. Much better).
#romeo et juliette#le balcon#cristina is silly#what surprised me is how many juliettes don’t act surprised#i mean cecilia’s juliette had the most realistic reaction#even hungarian julia was only mildly disapproving#well hungarian romeo had the grace to catch her attention#retj meta#retj#couldn’t find the dutch alas#i think only that brief clip exists#i tend to like the productions that have romeo climb only at the tail end of the song#let them be apart and then reunite for their shared chorus
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Gérard Grisey - Les Chants de l’amour (1984), pour douze voix mixtes et bande.
Un film de David Daurier Filmé à l’Opéra de Lille le 22 avril 2021.
Le Balcon Direction musicale Maxime Pascal
Direction artistique Florent Derex.
Réalisation en informatique musicale Augustin Muller
Scénographie David Daurier
Conception stèle Romain Ronflette
Direction de la photographie Arthur Cemin
Prise de son et mixage Michel Pierre
Régie son Grégoire Lavaud
Conseil costumes Pascale Lavandier
Habillage Sylvie Dermigny
Opéra de Lille – Avec Sopranos : Marie Picaut, Myrianne-Fleur Le Ralle, Elise Chauvin Contraltos : Pauline Sikirdji, Elise Dabrowski, Camille Merckx Ténors : Safir Behloul, Manuel Nuñez Camelino, Xavier de Lignerolles Basses : Mathieu Dubroca, Thill Mantero, Florent Baffi
Production exécutive de la captation Gingerlemon | Laetitia Bartoli
Avec le soutien de l’Opéra de Lille et de ses équipes
Remerciements à Caroline Sonrier, l’IRCAM – Centre Pompidou, Michalis Boliakis, Ágnes Czingulszki, Sivan Eldar, François-Xavier Féron, Michaël Levinas, Jasmine Libiszewski, Suzanne Saint-Cast, Xin-Yun Wu
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The Balcony * Édouard Manet
The Balcony (French: Le balcon) is an 1868-69 oil painting by the French painter Édouard Manet. It depicts four figures on a balcony, one of whom is sitting: the painter Berthe Morisot, who married Manet's brother Eugène in 1874. In the centre is the painter Jean Baptiste Antoine Guillemet. On the right is Fanny Claus, a violinist. The fourth figure, partially obscured in the interior's background, is possibly Léon Leenhoff, Manet's son.[1] It was exhibited at the Paris Salon of 1869, and then kept by Manet until his death in 1883. It was sold to the painter Gustave Caillebotte in 1884, who left it to the French state in 1894. It is currently held at the Musée d'Orsay, in Paris.
Inspiration and description
The painting, inspired by Majas on the Balcony by Francisco Goya, was created at the same time and with the same purpose as Luncheon in the Studio.
The three characters, who were all friends of Manet, seem to be disconnected from each other: while Berthe Morisot, on the left, looks like a romantic and inaccessible heroine, the young violinist Fanny Claus and the painter Antoine Guillemet seem to display indifference. The boy in the background is probably Manet's son, Léon. Just behind the railings, there are a hydrangea in a ceramic pot, and a dog with a ball below Morisot's chair.[2]
This was the first portrait of Morisot by Manet. Manet adopts a restrained colour palette, dominated by white, green and black, with accents of blue (Guillemet's tie) and red (Morisot's fan).
Manet made many preparatory studies, painting the four subjects individually many times: Guillemet as many as fifteen times. A preparatory study for The Balcony was painted at Boulogne in 1868. This unfinished portrait of Fanny Claus, the closest friend of Manet’s wife Suzanne Leenhoff; Claus married Manet's friend Pierre Prins in 1869. The work was bought after Manet's death in a studio sale by John Singer Sargent. The portrait had only been seen once in public since it was first painted in 1868, but in 2012 the Ashmolean Museum in Oxford succeeded in raising the funds to acquire it and keep it permanently in a public collection in the United Kingdom.[
Le Balcon est un tableau réalisé par le peintre Édouard Manet et présenté au Salon de Paris de 1869. La toile représente notamment Berthe Morisot (à gauche), qui deviendra en 1874 la belle-sœur de Manet, et le peintre Antoine Guillemet.
La toile, inspirée des Majas au balcon de Francisco Goya, a été réalisée à la même époque et dans la même intention que le Déjeuner dans l'atelier. Les trois personnages, tous amis de Manet, semblent n’être reliés par rien : tandis que Berthe Morisot, à gauche, fait figure d'héroïne romantique et inaccessible, la jeune violoniste Fanny Claus, épouse de son ami le peintre Pierre Prins, et le peintre Antoine Guillemet paraissent habiter un autre monde. Le vert agressif et audacieux du balcon, par ailleurs, fit couler beaucoup d'encre, comme en témoigne l'article qui est consacré à l'œuvre par le Grand Dictionnaire universel du XIXe siècle en 1878 :
« Ce tableau a été exposé au Salon de 1869 ; il est un de ceux qui ont contribué à former cette réputation d'excentricité réaliste, cette renommée de mauvais goût qui s'est attachée à M. Manet. »
Le tableau a été acheté par Gustave Caillebotte (1848-1894) en février 1884 pour la somme conséquente de 3 000 francs, dans l'atelier de Manet, après sa mort. Il a fait partie du legs Caillebotte à l'État après sa mort.
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“Le Balcon”, “Par Amour”, “Aimer”/ “バルコニー”, “ 愛の為に”, “ エメ” Stage photos, Romeo et Juliette Jp 2017+19 (7/10)
All photos are from 2019 except for second row right, all of third row and fourth row right
Parts: 1, 2, 3, 4, 5, 6, 8, 9, 10
#le balcon#par amour#aimer#バルコニー#愛の為に#エメ#romeo et juliette#romeo and juliet costumes#ロミオ&ジュリエット#ロミオとジュリエット#retj toho#toho retj
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re-read the balcony when i went to the beach earlier this week
it was a bit easier on second reading, whatever that means. i don’t think i’m reading it right, which is a ridiculous thing to say, but it’s true. (how do you read a menu? how do you read a novel? how do you read a movie summary? how do you read a scientific paper?)
pretty sure you don’t read/watch it for the plot, in any event, though there is one.
wanting to be the symbol vs wanting to be the thing; vs wanting to be the symbol. needing someone else for you to be powerful; wanting to be part of someone else’s pageantry. hopping back and forth between needing it to be real and needing it to be fake. everyone’s playing a role and only some of them admit it.
it’s sex-shaped but isn’t really about sex. i think? it might be about sex, but it doesn’t feel like it.
i imagine there’s a lot of plays/books/etc about the same thing, but i haven’t seen or read (eaten) any of them.
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Darton Cuisine presenta su cocina fusión de Francia y la Argentina en Palermo
Darton Cuisine presenta su cocina fusión de Francia y la Argentina en Palermo
Si te gusta la cocina fusión te recomiendo la siguiente actividad de Darton Cuisine, un emprendimiento gastronómico de cocina fusión de Francia y la Argentina, que cocinará y presentará sus platos el 19 de mayo desde las 20.00 en el restaurante La esquina del Antigourmet, Soler 5901, en el barrio porteño de Palermo.
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#Antoine Ungar#Argentina#boeuf bourguignon#Buenos Aires#carbonade#cocina#cocina fusión#Darton Cuisine#francia#Guadalupe Piñeiro#Instagram#La esquina del Antigourmet#Le Balcon#Marais#Niza#Palermo#París#piperade#pissaladière#poulet basquaise#quiche#Ratatouille
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carbot 🛩
je ne sais combien de clopes il fume dans ce film mais clairement, le cancer, il le mange.
non par contre il est slay et il le sait (mannequin balenciaga qui fait même pas le mètre 70 wsh).
d a d d y
#au grand balcon#1949#henri decoin#cinéma français#pierre fresnay#j'adore le vanner sur sa taille de mouche#lovely man
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Round 1 C Match 3
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Propaganda under the cut
Le Balcon
it's romeo and juliet. do i need to say anymore
Only Us
No propaganda submitted
#round 1#musical theater#romeo et juliette musical#dear evan hansen musical#romeo et juliette#dear evan hansen#le balcon#only us
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Le Balcon (The Balcony)
Mai Trung Thu
Ink and gouache on silk, 1943
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y a-t-il meilleur moyen pour revenir à la vie que de s'éclater par terre juste en bas de chez soi les bras remplis de courses ? je ne crois pas, tout du moins ce n'est pas la vie que j'ai décidé de mener
#j'ai fait un vol plané de 10 secondes#ressenti mille ans#hilarant pour les spectateurs à leur balcon#là je me sens bien réelle
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