History MisaimedFandom / Theatre

15th Apr '18 5:33:27 PM nombretomado
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* ''[[http://www.youtube.com/watch?v=1dVWsBKHgWU Das Wild in Fluren und Triften]]'' from ''Theatre/DerFreischuetz'' has often been said to glorify war, mostly by various stripes of Nazi. A particularly notable example is from ''{{Hellsing}}''. The song is really about Cuno, the head forester, trying to cheer up Max, one of his subordinates, who, because of his failure in a recent shooting-match, may stand to lose both his position and the woman he loves, by speaking of the trial-shot the next day. The title even means "The game in meadows and pastures".

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* ''[[http://www.youtube.com/watch?v=1dVWsBKHgWU Das Wild in Fluren und Triften]]'' from ''Theatre/DerFreischuetz'' has often been said to glorify war, mostly by various stripes of Nazi. A particularly notable example is from ''{{Hellsing}}''.''Anime/{{Hellsing}}''. The song is really about Cuno, the head forester, trying to cheer up Max, one of his subordinates, who, because of his failure in a recent shooting-match, may stand to lose both his position and the woman he loves, by speaking of the trial-shot the next day. The title even means "The game in meadows and pastures".
8th Feb '18 7:11:09 AM Cryoclaste
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* The Tea Party likes to use "Tomorrow Belongs To Me" from ''{{Cabaret}}'' as a rally song for "taking back the country." It is unknown how many of them know that the song was used to symbolically represent the rise of '''UsefulNotes/NaziGermany'''. (This is partly AdaptationDisplacement: in the stage version, the song only became associated with Nazis in a reprise.)

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* The Tea Party likes to use "Tomorrow Belongs To Me" from ''{{Cabaret}}'' ''Theatre/{{Cabaret}}'' as a rally song for "taking back the country." It is unknown how many of them know that the song was used to symbolically represent the rise of '''UsefulNotes/NaziGermany'''. (This is partly AdaptationDisplacement: in the stage version, the song only became associated with Nazis in a reprise.)
22nd Jan '18 10:35:08 AM MBG
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----

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----* The most famous quote of ''Theatre/NoExit'' is "Hell is other people!", showing [[ItWasHisSled the famous plot twist]] that the characters' IronicHell is just being stuck in a room with each other forever. It's often brought up was a justification for antisocial behavior, but the point of the story was that all the main characters are enormous jerks who are incapable of forming positive relationships. It wasn't that ''all'' social activity was bad, just social activity with toxic people.
16th Jan '18 1:28:30 AM Cryoclaste
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* [[TheZerothLawOfTropeExamples Of course]], Creator/WilliamShakespeare's works are subject to this. Made difficult since we don't have anything remotely like WordOfGod on what his intentions were for his plays and characters, leaving it subject to AlternateCharacterInterpretation that is unlikely to ever die:

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* [[TheZerothLawOfTropeExamples [[JustForFun/TheZerothLawOfTropeExamples Of course]], Creator/WilliamShakespeare's works are subject to this. Made difficult since we don't have anything remotely like WordOfGod on what his intentions were for his plays and characters, leaving it subject to AlternateCharacterInterpretation that is unlikely to ever die:
18th Oct '17 3:05:08 AM qindarka
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** Falstaff, a lazy fat drunk whose main purpose in the ''Theatre/HenryIV'' trilogy was to show how dissipated Prince Hal really was, became so popular that (according to legend) Shakespeare was asked by Elizabeth I to write a comedy around him, which is how we got ''Theatre/TheMerryWivesOfWindsor''. (The Queen probably didn't make that request, but she might as well have; audiences really were clamoring to see more of Falstaff.) Modern productions, and Creator/OrsonWelles' Film/ChimesAtMidnight have reinterpreted Falstaff as the Protagonist of the plays, seeing his devastating critiques of war, martial glory, and honor as more compelling than the play's hero who doesn't think twice about ''sending untold numbers to be killed''. Shakespeare's plays were certainly commissioned and sold as propaganda for the state and royalty, so reinterpreting his works as anti-monarchical via Falstaff is certainly something beyond anything Shakespeare could have intended.
** Shylock in ''Theatre/TheMerchantOfVenice'' is an anti-Semitic caricature but today's audiences see him as a TragicVillain who see his famous speech as an example of anti-racist ideas snuck into propaganda by Shakespeare. This allows modern readers to re-interpret the anti-Semitism that undoubtedly was originally in the play and recast the whole thing around Shylock. Most modern productions do some editing, for instance omitting Shylock being forced to convert at the end.
9th Sep '17 4:35:36 PM nombretomado
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** It gets even worse when fans ship the Phantom with Christine and go on about how Raoul (who was an aspiring Arctic explorer in the book) is boring and less attractive and that Christine is an evil tease for choosing him by the end. Because heaven forbid a woman marry her sweet childhood friend instead of the raving murderous madman who stalked her, scared her half to death, and threatened to kill her boyfriend if she didn't marry him. The sequel to AndrewLloydWebber's musical, ''Theatre/LoveNeverDies'', handled this matter by turning poor Raoul into a gambling addict and alcoholic and again raising the possibility of the Phantom and Christing getting together, [[spoiler: ultimately making the misaimed fandom pairing the ''legit'' one]]. The existence of the show serves as a ''massive'' ContestedSequel in the phan community largely because of this - those who view it as a legitimate sequel come into conflict with those who think it shouldn't be taken seriously, making this a case where the misaimed phantom have almost withdrawn entirely from the community at large to form their own groups.

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** It gets even worse when fans ship the Phantom with Christine and go on about how Raoul (who was an aspiring Arctic explorer in the book) is boring and less attractive and that Christine is an evil tease for choosing him by the end. Because heaven forbid a woman marry her sweet childhood friend instead of the raving murderous madman who stalked her, scared her half to death, and threatened to kill her boyfriend if she didn't marry him. The sequel to AndrewLloydWebber's Creator/AndrewLloydWebber's musical, ''Theatre/LoveNeverDies'', handled this matter by turning poor Raoul into a gambling addict and alcoholic and again raising the possibility of the Phantom and Christing getting together, [[spoiler: ultimately making the misaimed fandom pairing the ''legit'' one]]. The existence of the show serves as a ''massive'' ContestedSequel in the phan community largely because of this - those who view it as a legitimate sequel come into conflict with those who think it shouldn't be taken seriously, making this a case where the misaimed phantom have almost withdrawn entirely from the community at large to form their own groups.
22nd Feb '17 11:23:01 AM JulianLapostat
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*** Proto-Feminist scholars once saw Portia as a positive female character since she demonstrates active agency, has more guile than the heroes and eloquently voices her views in law to defend Shylock. Modern audiences see her as a DesignatedHero who is more or less party to state persecution of Jews and whose formerly beloved 'the quality of mercy' speech is one where she more or less states that Christians are more merciful than Jews, which a modern audience no longer sees as anything other than religious propaganda, and which considering the overall conceit of the play is nothing more than {{Hypocrisy}} and MoralMyopia.

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*** Proto-Feminist scholars once saw Portia as a positive female character since she demonstrates active agency, has more guile than the heroes and eloquently voices her views in law to defend Shylock.law. Modern audiences see her as a DesignatedHero who is more or less party to state persecution of Jews and whose formerly beloved 'the quality of mercy' speech is one where she more or less states that Christians are more merciful than Jews, which a modern audience no longer sees as anything other than religious propaganda, and which considering the overall conceit of the play is nothing more than {{Hypocrisy}} and MoralMyopia.
13th Feb '17 11:51:18 AM JulianLapostat
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*** "Hath not a Jew eyes..." in particular - most scholars agree that the purpose of this soliloquy is to demonstrate that Shylock ''does not actually understand what a human being is'', since the only trait he describes unique to humans is vengeance, a vice associated with Jews. Now it's usually treated as a showcase of his humanity and how he's been wronged by Christianity.[[note]]Yet the main characters are just as sneaky and/or vengeful as Shylock is. This is really less Misaimed Fandom and more simple YMMV. [[FairForItsDay The social conventions of the time also feed into it,]] making it much harder to take Shylock at face value.[[/note]
*** Proto-Feminist scholars once saw Portia as a positive female character since she demonstrates active agency, has more guile than the heroes and eloquently voices her views in law to defend Shylock. Modern audiences see her as a DesignatedHero who is more or less party to state persecution of Jews and whose formerly beloved 'the quality of mercy' speech is one she identifies as native to Christians more than Jews which a modern audience no longer sees as anything other than religious propaganda.

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*** "Hath not a Jew eyes..." in particular - most scholars agree that the purpose of this soliloquy is to demonstrate that Shylock ''does not actually understand what a human being is'', since the only trait he describes unique to humans is vengeance, a vice associated with Jews. Now it's usually treated as a showcase of his humanity and how he's been wronged by Christianity.[[note]]Yet the main characters are just as sneaky and/or vengeful as Shylock is. This is really less Misaimed Fandom and more simple YMMV. [[FairForItsDay The social conventions of the time also feed into it,]] making it much harder to take Shylock at face value.[[/note]
[[/note]]
*** Proto-Feminist scholars once saw Portia as a positive female character since she demonstrates active agency, has more guile than the heroes and eloquently voices her views in law to defend Shylock. Modern audiences see her as a DesignatedHero who is more or less party to state persecution of Jews and whose formerly beloved 'the quality of mercy' speech is one where she identifies as native to more or less states that Christians are more merciful than Jews Jews, which a modern audience no longer sees as anything other than religious propaganda.propaganda, and which considering the overall conceit of the play is nothing more than {{Hypocrisy}} and MoralMyopia.



*** On the same note, "Brevity is the soul of wit"...

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*** On the same note, "Brevity is the soul of wit"...wit". ''Hamlet'' is Shakespeare's longest, most verbose play, with the most psychological intricacy and some of the most well known quotations that have ever passed into common usage. [[BrokenAesop So formally speaking, "brevity" is NOT the soul of wit]].



** Also, ''Theatre/{{Macbeth}}'''s "Tomorrow and tomorrow and tomorrow" speech is a favorite of many {{Straw Nihilist}}s who don't realize Shakespeare used it to show how twisted and desperate the protagonist has become.
*** Since it comes immediately after he learns of the death of his wife, it presumably shows the eponymous character going into a VillainousBSOD, rather than being a bold statement of considered philosophy.

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** Also, ''Theatre/{{Macbeth}}'''s "Tomorrow and tomorrow and tomorrow" speech is a favorite of many {{Straw Nihilist}}s who don't realize Shakespeare used it to show how twisted and desperate the protagonist has become.
***
become. Since it comes immediately after he learns of the death of his wife, it presumably shows the eponymous character going into a VillainousBSOD, rather than being a bold statement of considered philosophy.philosophy.



** Shaw himself has one, mostly from people who think that, as a Socialist, he was anti-Imperialist. He wasn't; he was in favor of the Boer War, for instance, and ''virulently'' opposed to Irish independence.
13th Feb '17 11:42:06 AM JulianLapostat
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* [[TheZerothLawOfTropeExamples Of course]], Creator/WilliamShakespeare's works are subject to this. Made difficult since we don't have anything remotely like WordOfGod on what his intentions were for the play and the characters, leaving it subject to AlternateCharacterInterpretation that is unlikely to ever die:

to:

* [[TheZerothLawOfTropeExamples Of course]], Creator/WilliamShakespeare's works are subject to this. Made difficult since we don't have anything remotely like WordOfGod on what his intentions were for the play his plays and the characters, leaving it subject to AlternateCharacterInterpretation that is unlikely to ever die:
13th Feb '17 11:41:15 AM JulianLapostat
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** Another example is the song "What Keeps A Man Alive?", which is a lyrical FreudianExcuse about how poverty leads to savagery in order to survive. Brecht condemned this attitude, as in practice, it meant that the poor would prey on one another rather than organizing and bettering their condition. This was missed at people that took the message at face value and ignored how in the play, they end up remaining under the thumb of Macheath and Peachum, and miss the final lines (often left in production) that people only see those in the light but ignore the ones who are out of sight.

to:

** Another example is the song "What Keeps A Man Alive?", which is a lyrical FreudianExcuse about how poverty leads to savagery in order to survive. Brecht condemned this attitude, as in practice, it meant that the poor would prey on one another rather than organizing and bettering their condition. This was missed at people that took the message at face value and ignored how in the play, they end up remaining under the thumb of Macheath and Peachum, and miss the final lines (often left in production) out of productions) that people only see those in the light but ignore the ones who are out of sight.
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