History Theatre / TheRingOfTheNibelung

22nd Feb '18 6:44:41 PM nombretomado
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''Der Ring des Nibelungen'' ("The Ring of the Nibelung"[[labelnote:Translation note]]this is sometimes mistranslated as the plural "Nibelungs," but the singular is correct -- the Nibelung referred to is Alberich. The name "Nibelung" (literally, "mist-descendent") refers to the race of dwarfs to which Alberich belongs. This particular noun is declinated in German, which results in the ending "-en".[[/labelnote]]) is a cycle of four operas by Creator/RichardWagner (hence the alternative term, the "Ring Cycle," which is sometimes applied to the whole)[[note]]Wagner himself eschewed the term "opera" as applied to these works, preferring to refer to them as "Bühnenfestspiele", "stage-festival-plays"; the term "music-drama," though also rejected by Wagner himself, is generally preferred by his followers[[/note]]. The cycle premiered at the Wagner Festival Theater in Bayreuth, August 14th-17th, 1876, though the first two sections of the work had already appeared at the Munich Court Opera in 1869 and 1870.

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''Der Ring des Nibelungen'' ("The Ring of the Nibelung"[[labelnote:Translation note]]this is sometimes mistranslated as the plural "Nibelungs," but the singular is correct -- the Nibelung referred to is Alberich. The name "Nibelung" (literally, "mist-descendent") refers to the race of dwarfs to which Alberich belongs. This particular noun is declinated in German, which results in the ending "-en".[[/labelnote]]) is a cycle of four operas by Creator/RichardWagner Music/RichardWagner (hence the alternative term, the "Ring Cycle," which is sometimes applied to the whole)[[note]]Wagner himself eschewed the term "opera" as applied to these works, preferring to refer to them as "Bühnenfestspiele", "stage-festival-plays"; the term "music-drama," though also rejected by Wagner himself, is generally preferred by his followers[[/note]]. The cycle premiered at the Wagner Festival Theater in Bayreuth, August 14th-17th, 1876, though the first two sections of the work had already appeared at the Munich Court Opera in 1869 and 1870.



* In a MusicalGag, the cavalry [[TheBlacksmith blacksmith]] in Creator/JohnFord's ''Film/SheWoreAYellowRibbon'' is named [[Creator/RichardWagner Wagner]]; when he appears, the soundtrack plays the [[ForgingScene smithying]] {{Leitmotif}} from the ''Ring''.

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* In a MusicalGag, the cavalry [[TheBlacksmith blacksmith]] in Creator/JohnFord's ''Film/SheWoreAYellowRibbon'' is named [[Creator/RichardWagner [[Music/RichardWagner Wagner]]; when he appears, the soundtrack plays the [[ForgingScene smithying]] {{Leitmotif}} from the ''Ring''.
22nd Feb '18 6:41:01 AM Cryoclaste
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The staging of the work proved problematic. Wagner had the typical Teutonic and 19th century fascination with history, and instructed his scenery and costume designers to emulate as closely as possible the Ancient Germanic setting of the original legend.[[note]]which, oddly enough, despite the cycle's [[TheTimeOfMyths legendary]] setting, can be dated ''historically'' pretty exactly to the year 437 A.D. by the destruction of the Rhine-based kingdom of Gunthaharius (Wagner’s Gunther) by the Huns[[/note]] Unfortunately, that particular period was (and still is) a particularly obscure one in terms of social history, and Carl Döpler’s designs, though in accordance with the [[DatedHistory best knowledge of the time]], were largely based on ceremonial costumes, in some cases extrapolated backward from much later sources [[note]]The effect is somewhat like trying to imagine the civilian costume of George Washington from looking at the dress uniform of George S. Patton[[/note]]. Hence the rather silly looking HornyVikings costumes[[note]]which Wagner’s wife Cosima famously compared to "[[BraidsBeadsAndBuckskins Red Indian chiefs]]" [[/note]] and settings that still inform most people’s mental image of the ''Ring''. Furthermore, the spectacular scenic effects that Wagner intended, his dwarfs and dragons, gods and nixes, his bear and rams and serpent and ravens and wood-bird, even his rainbows, mists, rivers, caverns, and mountains, have afforded nightmarish problems from the very earliest presentations of the work. (Legend has it that the dragon’s neck was unavailable in the first performances, having been sent by mistake, not to Bayreuth in [[TheSixteenLandsOfDeutschland Bavaria]], but to Beirut in UsefulNotes/{{Lebanon}}.) Nevertheless, Wagner’s dramatic technique was highly influential, to the extent that it colored the general public’s very conception of what "opera" is.

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The staging of the work proved problematic. Wagner had the typical Teutonic and 19th century fascination with history, and instructed his scenery and costume designers to emulate as closely as possible the Ancient Germanic setting of the original legend.[[note]]which, oddly enough, despite the cycle's [[TheTimeOfMyths legendary]] setting, can be dated ''historically'' pretty exactly to the year 437 A.D. by the destruction of the Rhine-based kingdom of Gunthaharius (Wagner’s Gunther) by the Huns[[/note]] Unfortunately, that particular period was (and still is) a particularly obscure one in terms of social history, and Carl Döpler’s designs, though in accordance with the [[DatedHistory best knowledge of the time]], were largely based on ceremonial costumes, in some cases extrapolated backward from much later sources [[note]]The effect is somewhat like trying to imagine the civilian costume of George Washington from looking at the dress uniform of George S. Patton[[/note]]. Hence the rather silly looking HornyVikings costumes[[note]]which Wagner’s wife Cosima famously compared to "[[BraidsBeadsAndBuckskins Red Indian chiefs]]" [[/note]] and settings that still inform most people’s mental image of the ''Ring''. Furthermore, the spectacular scenic effects that Wagner intended, his dwarfs and dragons, gods and nixes, his bear and rams and serpent and ravens and wood-bird, even his rainbows, mists, rivers, caverns, and mountains, have afforded nightmarish problems from the very earliest presentations of the work. (Legend has it that the dragon’s neck was unavailable in the first performances, having been sent by mistake, not to Bayreuth in [[TheSixteenLandsOfDeutschland [[UsefulNotes/TheSixteenLandsOfDeutschland Bavaria]], but to Beirut in UsefulNotes/{{Lebanon}}.) Nevertheless, Wagner’s dramatic technique was highly influential, to the extent that it colored the general public’s very conception of what "opera" is.
20th Jan '18 10:26:03 AM Malady
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* DarkAgeEurope: Though really more TheTimeOfMyths. The Jahrhundertring averted this by updating the setting to the GrandUnifiedTimeline/FirstIndustrialRevolution. The forges and dark mines of the Nibelungen becomes a mine-shaft and factory setting. This was based on the fact that the Ring cycle was contemporary to this era.

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* DarkAgeEurope: Though really more TheTimeOfMyths. The Jahrhundertring averted this by updating the setting to the GrandUnifiedTimeline/FirstIndustrialRevolution.UsefulNotes/IndustrialRevolution. The forges and dark mines of the Nibelungen becomes a mine-shaft and factory setting. This was based on the fact that the Ring cycle was contemporary to this era.
6th Jan '18 4:08:33 PM nombretomado
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* DarkAgeEurope: Though really more TheTimeOfMyths. The Jahrhundertring averted this by updating the setting to the IndustrialRevolution. The forges and dark mines of the Nibelungen becomes a mine-shaft and factory setting. This was based on the fact that the Ring cycle was contemporary to this era.

to:

* DarkAgeEurope: Though really more TheTimeOfMyths. The Jahrhundertring averted this by updating the setting to the IndustrialRevolution.GrandUnifiedTimeline/FirstIndustrialRevolution. The forges and dark mines of the Nibelungen becomes a mine-shaft and factory setting. This was based on the fact that the Ring cycle was contemporary to this era.
26th Nov '17 10:33:56 AM nombretomado
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Wagner shows a tendency in his verse to employ an excess of superlatives ("Deepest love’s holiest need") and unusual or archaic words and constructions („''neidlich”, "emulable" (?); “der Recken Zwist'' “of war-men the strife", and so on), which gave his text rather a stilted sound even in the over-blown [[GermanLanguage literary German]] of his time. Dramatically, however, his text is masterly in its construction; his situations highly suggestive, and his characterization vivid and deep in psychological insight.

to:

Wagner shows a tendency in his verse to employ an excess of superlatives ("Deepest love’s holiest need") and unusual or archaic words and constructions („''neidlich”, "emulable" (?); “der Recken Zwist'' “of war-men the strife", and so on), which gave his text rather a stilted sound even in the over-blown [[GermanLanguage [[UsefulNotes/GermanLanguage literary German]] of his time. Dramatically, however, his text is masterly in its construction; his situations highly suggestive, and his characterization vivid and deep in psychological insight.



* GermanLanguage: While ''{{Leitmoti|f}}v'' was actually coined rather by Hans von Wolzogen rather than by Wagner, the Master did coin the resoundingly Teutonic term, ''Bühnenfestspiel'' mentioned above.
24th Sep '17 10:56:22 AM nombretomado
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* BechdelTest: Passed by virtue of the Rhinemaidens' merry chat at the very beginning of ''Das Rheingold'' - and then never again. (Fricka and Freia talk about Wotan and the giants, the valkyries talk about the men they carry etc.)
26th Aug '17 3:21:27 PM AutumnLeaves
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Added DiffLines:

* FromBadToWorse: Combined with NiceJobBreakingItHero. Siegmund tries to help a girl who's forced into marriage. In doing so, he kills her brothers, breaking her heart, and then the girl, still weeping over the bodies, is in turn killed by vengeful clansmen.
26th Aug '17 3:01:42 PM AutumnLeaves
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** And then there are productions that include chemistry between Froh and Freia in ''Das Rheingold'' (it's not clear whether Fricka [[CobblersChildrenHaveNoShoes doesn't see it]] or [[ScrewTheRulesIMakeThem is fine with it]]) and/or Hagen and Gutrune in ''Götterdämmerung''.

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** And then there are multiple productions that include chemistry between Froh and Freia in ''Das Rheingold'' (it's not clear whether Fricka [[CobblersChildrenHaveNoShoes doesn't see it]] or [[ScrewTheRulesIMakeThem is fine with it]]) and/or Hagen and Gutrune in ''Götterdämmerung''.
26th Aug '17 2:58:59 PM AutumnLeaves
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** Siegfried for his part also engages in an incestuous affair with Brunnhilde who is his aunt. Siegfried's grandfather is Wotan and Brunnhilde is a daughter of Wotan from Erda (as are the other Valkyries).

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** Siegfried for his part also engages And then there are productions that include chemistry between Froh and Freia in an incestuous affair ''Das Rheingold'' (it's not clear whether Fricka [[CobblersChildrenHaveNoShoes doesn't see it]] or [[ScrewTheRulesIMakeThem is fine with Brunnhilde who is his aunt. Siegfried's grandfather is Wotan it]]) and/or Hagen and Brunnhilde is a daughter of Wotan from Erda (as are the other Valkyries).Gutrune in ''Götterdämmerung''.



* IncestIsRelative: Apart from Siegfried's Parents, Siegfried has a relationship with his aunt Brünnhilde, as Wotan is her Father.

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* IncestIsRelative: Apart from Siegfried's Parents, parents, Siegfried has a relationship with his aunt Brünnhilde, as Wotan is her Father.father.
25th Jul '17 4:16:24 PM Nicoaln
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Added DiffLines:

* BrawnHilda: Brunhilde is the TropeNamer - but not InUniverse, the trope naming came from stage performances, in which Brunhilde was played by a large woman because they are usually the only ones who can play her part.
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