History Fridge / Amadeus

18th Apr '18 11:26:44 PM BlackBaroness
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* At first glance, the contrast between Mozart's operas and their parodies appears to be a subtle depiction of the ComedyGhetto: the former is attended by proper people in wigs and fine outfits, while the latter is attended by boisterous people in drab clothing; the implication here is that "[[TrueArtIsAngsty true art]]" is reserved for the nobility, while anything too cheerful (and thus [[LowestCommonDenominator basal]]) belongs to the lower class. However, what's equally important is how their respective audiences respond to the works they've come to see. As mentioned under AtTheOperaTonight on the main page, the audiences for Mozart's operas aren't fully invested in the action onstage, and are even disruptive at points. Meanwhile, the audiences attending the parodies are fully engrossed in the work: laughing, singing along, applauding, and overall expressing pure joy in response to the action onstage; note how many times they point to the stage, urging their fellow audience members to notice what's on stage. With the behavioral differences between audiences, this turns out to actually be a {{deconstruction}} of the ComedyGhetto, demonstrating that the bias against comedies is strictly cultural stigma, and a work of any genre is only worth how much audiences are willing to invest in it.

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* At first glance, the contrast between Mozart's operas and their parodies appears to be a subtle depiction of the ComedyGhetto: the former is attended by proper people in wigs and fine outfits, while the latter is attended by boisterous people in drab clothing; the implication here is that "[[TrueArtIsAngsty true art]]" is reserved for the nobility, while anything too cheerful (and thus [[LowestCommonDenominator basal]]) belongs to the lower class. However, what's equally important is how their respective audiences respond to the works they've come to see. As mentioned under AtTheOperaTonight on the main page, the audiences for Mozart's operas aren't fully invested in the action onstage, and are even disruptive at points. Meanwhile, the audiences attending the parodies are fully engrossed in the work: work, laughing, singing along, applauding, and overall expressing pure joy in response to the action onstage; note how many times they point to the stage, urging their fellow audience members to notice what's on stage. With the behavioral differences between audiences, this turns out to actually be a {{deconstruction}} of the ComedyGhetto, demonstrating that the bias against comedies is strictly cultural stigma, and a work of any genre is only worth how much audiences are willing to invest in it.
18th Apr '18 11:25:13 PM BlackBaroness
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Added DiffLines:

* At first glance, the contrast between Mozart's operas and their parodies appears to be a subtle depiction of the ComedyGhetto: the former is attended by proper people in wigs and fine outfits, while the latter is attended by boisterous people in drab clothing; the implication here is that "[[TrueArtIsAngsty true art]]" is reserved for the nobility, while anything too cheerful (and thus [[LowestCommonDenominator basal]]) belongs to the lower class. However, what's equally important is how their respective audiences respond to the works they've come to see. As mentioned under AtTheOperaTonight on the main page, the audiences for Mozart's operas aren't fully invested in the action onstage, and are even disruptive at points. Meanwhile, the audiences attending the parodies are fully engrossed in the work: laughing, singing along, applauding, and overall expressing pure joy in response to the action onstage; note how many times they point to the stage, urging their fellow audience members to notice what's on stage. With the behavioral differences between audiences, this turns out to actually be a {{deconstruction}} of the ComedyGhetto, demonstrating that the bias against comedies is strictly cultural stigma, and a work of any genre is only worth how much audiences are willing to invest in it.
6th Dec '17 11:47:17 PM requiesticat
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!! FridgeHorror

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\n*While Salieri is telling his story, Father Vogler takes him seriously. You can even see him getting emotional at points. In a strange sense, Salieri got what he wanted in the end: someone who understood his viewpoints and possibly viewed him as being better than Mozart.
!! FridgeHorrorFridgeHorror
*The movie's aesop calls this into question. How many talented people have worked their whole lives to become good at what they do, only for someone naturally gifted (or at the very least undeserving of fame) to come along and completely overshadow them?
29th Aug '17 12:17:31 PM CaptainCrawdad
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* FridgeBrilliance: It always bugged me how annoying and unprofesional Amadeus was, and how inaccurate the film was. But, since Salieri is crazy, he probably has a bad memory.
** A question from this troper (who is studying music in school): If you're referring to Mozart as Amadeus, it's widely accepted that he was in fact like that in real life. He was notorious for have awful manners, a toilet bowl sense of humor, a ''very'' annoying laugh, etc. The film is incredibly accurate in that respect.
*** For instance, he wrote a little part-song called ''Lech Mir im Arsch''. Wanna guess how that one goes?
** There's also the film's portrayal of Salieri's musical talents (or seeming lack thereof). The real Salieri was an ''exceptional'' composer that went on to become Beethoven's teacher. But since Film!Salieri feels so inadequate compared to Mozart, he is, perhaps unknowingly, underplaying his own genius.
*** TruthInTelevision: artists are their own harshest critics.

to:

* FridgeBrilliance: It always bugged me how annoying and unprofesional Amadeus was, and how inaccurate the film was. But, since Salieri is crazy, he probably has a bad memory.
** A question from this troper (who is studying music in school): If you're referring to Mozart as Amadeus, it's widely accepted that he was in fact like that in real life. He was notorious for have awful manners, a toilet bowl sense of humor, a ''very'' annoying laugh, etc. The film is incredibly accurate in that respect.
*** For instance, he wrote a little part-song called ''Lech Mir im Arsch''. Wanna guess how that one goes?
** There's also the film's portrayal of Salieri's musical talents (or seeming lack thereof). The real Salieri was an ''exceptional'' composer that went on to become Beethoven's teacher. But since Film!Salieri feels so inadequate compared to Mozart, he is, perhaps unknowingly, underplaying his own genius.
*** TruthInTelevision: artists are their own harshest critics.
!! FridgeBrilliance

!! FridgeHorror
18th Mar '17 1:41:59 AM NWolfman
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** There's also the film's portrayal of Salieri's musical talents (or seeming lack thereof). The real Salieri was an ''exceptional'' composer that went on to become Beethoven's teacher. But since Film!Salieri feels so inadequate compared to Mozart, he is, perhaps unknowingly, underplaying his own genius.

to:

** There's also the film's portrayal of Salieri's musical talents (or seeming lack thereof). The real Salieri was an ''exceptional'' composer that went on to become Beethoven's teacher. But since Film!Salieri feels so inadequate compared to Mozart, he is, perhaps unknowingly, underplaying his own genius.genius.
*** TruthInTelevision: artists are their own harshest critics.
22nd Nov '16 4:11:03 PM Cheapsunglasses
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** A question from this troper (who is studying music in school): If you're referring to Mozart as Amadeus, it's widely accepted that he was in fact like that in real life. He was notorious for have awful manners, a toilet bowl sense of humor, etc. The film is incredibly accurate in that respect.
** For instance, he wrote a little part-song called ''Lech Mir im Arsch''. Wanna guess how that one goes?

to:

** A question from this troper (who is studying music in school): If you're referring to Mozart as Amadeus, it's widely accepted that he was in fact like that in real life. He was notorious for have awful manners, a toilet bowl sense of humor, a ''very'' annoying laugh, etc. The film is incredibly accurate in that respect.
** *** For instance, he wrote a little part-song called ''Lech Mir im Arsch''. Wanna guess how that one goes?
22nd Nov '16 4:10:06 PM Cheapsunglasses
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** For instance, he wrote a little part-song called ''Lech Mir im Arsch''. Wanna guess how that one goes?

to:

** For instance, he wrote a little part-song called ''Lech Mir im Arsch''. Wanna guess how that one goes?goes?
** There's also the film's portrayal of Salieri's musical talents (or seeming lack thereof). The real Salieri was an ''exceptional'' composer that went on to become Beethoven's teacher. But since Film!Salieri feels so inadequate compared to Mozart, he is, perhaps unknowingly, underplaying his own genius.
30th Jan '14 4:32:21 PM AdelePotter
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A question from this troper (who is studying music in school): If you're referring to Mozart as Amadeus, it's widely accepted that he was in fact like that in real life. He was notorious for have awful manners, a toilet bowl sense of humor, etc. The film is incredibly accurate in that respect.

to:

A **A question from this troper (who is studying music in school): If you're referring to Mozart as Amadeus, it's widely accepted that he was in fact like that in real life. He was notorious for have awful manners, a toilet bowl sense of humor, etc. The film is incredibly accurate in that respect.
25th Jan '14 9:43:26 PM g3m1n1
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* FridgeBriliance: It always bugged me how annoying and unprofesional Amadeus was, and how inaccurate the film was. But, since Salieri is crazy, he probably has a bad memory.

to:

* FridgeBriliance: FridgeBrilliance: It always bugged me how annoying and unprofesional Amadeus was, and how inaccurate the film was. But, since Salieri is crazy, he probably has a bad memory.
17th Dec '13 6:48:17 PM Kalmbach
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A question from this troper (who is studying music in school): If you're referring to Mozart as Amadeus, it's widely accepted that he was in fact like that in real life. He was notorious for have awful manners, a toilet bowl sense of humor, etc. The film is incredibly accurate in that respect.

to:

A question from this troper (who is studying music in school): If you're referring to Mozart as Amadeus, it's widely accepted that he was in fact like that in real life. He was notorious for have awful manners, a toilet bowl sense of humor, etc. The film is incredibly accurate in that respect.respect.
** For instance, he wrote a little part-song called ''Lech Mir im Arsch''. Wanna guess how that one goes?
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