11/06/2012

"Letters from Iwo Jima" by Clint Eastwood (2006)

"Letters from Iwo Jima" narrates the events happened in the battle that took place on Iwo Jima Island in 1945 seen from the Japanese side. This is the counterpart to "Flags of our Fathers", that focused on the American side.

A war movie is never my favourite subject of interest. However, if the movie presents the events in a humanly way and is historically accurate, it certainly gets my attention. That is the case of "Letters from Iwo Jima". 

What makes this movie to stand out from other modern movies about WWII battles is: 
1/ that focuses on the enemy and the losers, and shows that they also were human beings with a heart and a family. 
2/ The movie shows that not everybody belonging to the same country sees things the same, has the same morals, principles or acts the same under the same circumstances. 
3/ Unlike other American Movies, the stereotypes and prejudices about the Japanese as barbarians and fanatics are not here.

Although we know what is going to happen from the beginning, the script, the dialogues and the war scenes are thrilling and engaging. It is the human part of the story what will attract viewers that are not into war movies, and what will keep the spectator interested and moved. 

On the other hand, the script is good enough to depict the different military principles and beliefs that Japan was facing at the time, in which modern and old values were colliding and the concept of dying with honour was being redefined. This is perhaps the aspect that captivated me the most, as we are presented with two different ways of understanding Japanese honour: 1/ the traditional ideal, which is very medieval, in which, when an unwanted end approaches, the only option is take your own life. 2/ The modern ideal of honour, in which the soldier does his best, no matter the result, and surrenders. 

At the same time, honour is depicted not only how a behaviour displayed in the battlefield, but also the way you treat prisoners. In that regard, the Japanese are shown to be more honourable than their American opponents. Very moving, and really relevant for the story, is the reading of the letter by the American prisoner's mother. It shows that in war all mothers are the same, all soldiers, even the most despicable and savage ones, have a heart and a family, and their fighting is in all cases not their wish or liking.

I especially loved the glimpses we have about the personal life of some of the soldiers and officials through their correspondence. Those glimpses help us to understand why they act in a certain way during the war, what motivates them to fight, to commit desertion or suicide. I missed more letters and glimpses on the lives of the more traditional soldiers, those whose concept of honour and fighting was old-fashioned, as we could have understood better their motivations instead of seeing them as silly fanatics. I think that a little bit of chopping of the fighting scenes would have allowed the viewer to have more empathy towards "the bad guys".

Although I liked the end, I thought it does not offer emotional closure to the viewer, as we do not see the main Japanese character going back home or meeting his family.

Most actors are terrific in their respective roles, playing with emotion, sensitivity and empathy their respective characters. The only exception was Takumi Bando as Captain Tanida, who I thought overacted.

The fact that the movie is shot mostly in Japanese really makes is believable. It is the only decent and respectful way to approach the Japanese point of view. Otherwise, the director would had been bending to the needs of the mainstream movie industry for the sake of... nothing. Despite being shot in Japanese, the movie has been very popular amidst mainstream viewers. There you have it!

A modern classic.

11/04/2012

Musing About: Perth Street Art-2 (Perth WA)

1.  It might be because I live close to the CBD and I move in central suburbs, but I rarely find proper graffiti beyond name tagging and stickers. I grew up in a place that hidden corners and empty walls are covered by graffiti, from ejaculating penises in areas where teens meet, to love declarations, unveiling secrets, insults, squatters promotion political anti-system tagging, colourful murals and everything in between - in any semi-hidden corner in the city centre or suburbs. In Perth, I am mostly used to wonderful murals in the lanes of the city or in abandoned empty walls, artistic tagging, and stickers. I am sure there are lot of dirty secrets written somewhere, but they are not around my suburb. Please point us to the dirty secrets.
*** 
2. Graffiti and vandalism are sometimes associated in the mind of our politicians and of many citizens. Some TV shows and a.c.a.s give the same bad name to destroyers of public furniture, buses and trains and those who do artistic tagging, graffiti and/or painting. Still, overall, there is a respect towards wall painting and street art in this city. So much so that the City of Perth and the City of Subiaco are sponsoring educational projects of street art targeting the youth and Perth lanes - Food Chain is an incredible initiative. The City of Subiaco was also behind the painting of the Gold Lane. Of course, if a government or institution promotes something, you are not going to find anything subversive. Still, it is great.

Education Institutions are also acting as sponsors and paying for murals on their campuses. An exhibition at the Central Institute of Technology in Northbridge called Street Art 2012, was held between 23-28th July 2012, sponsored by HepatitisWA with works, street-art style, showcasing "young people's creative interpretation of the key health messages associated with viral hepatitis". The guys were selected from several youth agencies and selected to raise awareness of hepatitis. Well, if that is the case why not doing Street Art properly in the streets where, using abandoned walls, where the message can be seen by hundreds the people and be called street art? Street Art on canvases indoors. Truly Odd!  

3. We do not have guerrillas cleaning up viciously and obsessively in Perth, but mostly people admiring the work of the artists or ignoring it. Yes, there are examples of cleaning guerrillas, like in my attached photos, but I have also seen cleaning of graffiti on murals painted by streets artists! I love oxymorons! I also have seem certain sticker areas being continuously cleaned and repeated in a loop of eternal resistance.


4. One thinks of New York, Tokyo, Berlin, or Manchester as heavens for Street Art painters and aficionados. Still, at least at present, a more more vibrant street art scene, and more in connection with Perth, is happening elsewhere. Just to put an example close to our shores, I am thinking of  the Malay city of Melaka and its wonderful riverside, and the street art  murals covering night clubs and businesses non stop, spreading to the walls of new buildings. I found street art in Kuala Lumpur incredible, too. I thought that Perth and Melaka share the idea and feeling that a city and its public and business spaces can be beautiful canvases of creativity, and that they look much better painted than in blank, grey or bare bricks. Still, Melaka's murals are quintessentially Malay, as they use motifs (traditions, myths, and ways of life) and colours that perfectly represent who they are. Our murals, in that regards, do not reflect a clear Australian or Perthian identity, or they have it in the fact that they are artistically individualistic.

5. I had this conversation with an art gallery owner. I told him, "why don't you call an street artist to paint your [ugly] building with a funky mural?" His answer was that there is no street art in Perth, and those making it in Perth act as if they were the last big thing. Yes, ugliness can be subversive and even provocative, but I disagree with his statement. Yes, we do not see any Banksy here, or subversive street art, although isolated examples do exist (I am thinking on those stencil posters glued on the walls after the death of Osama Bin Laden, quickly removed or sprayed over). 

Perth Street Art do exist and is indeed very artistic. Not as spontaneous, sub-culture, protest, provocative, and subversive as in other societies and countries. However, there is a reason for that. We live in a rich peaceful country with a democracy, where people live their lives as they want, choose their religion, politic and even their sexual orientation. Therefore, their ways of expression are never going to be the same as those of artists and people who live in societies where there are marked class differences, political oppression, racial and sexual extermination or alienation, extreme poverty, widespread corruption, or simply a big economical crisis. Perhaps our city is too bourgeois to have radical street art, or politically or socially mindful street art, but our street art is just artistic.  Is that bad?

On the other hand the sticker street art is quite personal, provocative, cute, daring, and eclectic, a bit funkier. Electric switch boxes, poles, and any type of traffic signs are spread throughout the city. There are a few people who have been doing so in the city and have just opened a collective exhibit in Perth Art Gallery Kurb. The girl behind the bunny stickers is not only a lovely girl, but a talented young artist with nice pieces for sale at ridiculous prices. She is talented and nice. Good start girl! I got my two stickers in my visit. Yoohoo.

 ***
6. Art, by definition, is subversion, reflection, transformation, subconscious approximation, cheekiness, provocation, a comment on the needs, hopes and illusions of the human soul and the society we live in. A window to or tap into the personal and collective subconscious. Not just a way of individual expression. In that regard, I miss from the Perth Art scene alternative conscious oriented street art focusing on our crap, as we have lots of it, too: immigrant alienation, refugee rejection, Aboriginal exclusion, cultural racism and biases, land and real state speculation, uranium sale, the projected pipe from the Kimberly, domestic violence, drunk violence, just to mention a few. I do not see them artistically explored on the walls of the city. It puzzles me that Aborigines and Aboriginal themes and issues are almost absent from our walls. I do not understand either why beautiful cannot be subversive, mindful and socially conscious. I do not expect Government sponsored Street Art to do this sort of thing, but I do expect non-commissioned pieces to do so. It is just a wish.

***
A few useful links for Street Art Lovers Below


"Antichrist" by Lars Von Trier (2009)

Antichrist tells the story of a couple's grief after the death of their child, their progressive alienation from reality, and their descend to a personal hell, especially after they retreat to their cabin in in the forest, which they call Eden. Antichrist also narrates the trip of the female character "She" to her inner hell, so she becomes a demon (or the Antichrist) in an Eden inhabited by only a man and a woman.

The movie is structured in four parts: Grief, Pain (Chaos Reigns), Despair (Gynocide), and The Three Beggars, plus a Prologue and an Epilogue.

The Prologue in black and white is a short masterpiece, classy image quality and tones, wonderful music and mood, perfect tempo. It really sets the mood of the rest of the film, and offers a lyricism that gets lost afterwards.

Once the first chapter starts, the movie, its colours, its lighting, the atmosphere, and the acting start to dig in and unsettle the viewer with an unidentifiable menace that you feel even before the couple moves to the woods. That menacing feeling grows at the same pace as the tempo of the movie, being suffocating when the tragic events unfold. There are amazing oniric, premonitory and surreal images blended with the real facts, but these are progressively intermixed, and the boundaries between reality and unreality, sanity and insanity, get faded out. 

The epilogue is very surreal, quite easy and light, more fairytale-ish in a way, and I thought that it did not glue well to the rest of the movie in story or mood.

The movie has only two actors, William Dafoe as He and Charlotte Gainsbourg as She, who carry out the heavy weight of the whole movie. Their physiques really suit the gloomy characters they play. In both cases, the roles are very demanding physically and emotionally, so their work has to be praised. I found, however, that their personal chemistry was somewhat lacking.

Cinematographer Anthony Dod Mantle produces superb bucolic images, but also eerie oniric images and tones, that are not complacent or decorative, but the third character in the movie.

Antichrist is a psycho-thriller, and it is barely gory or explicitly violent until the last 20 minutes of the film, which are horrific. The violence and horror in the movie mainly come from the atmosphere and the dark places of the human soul where the story takes the viewer to. The fact that Von Trier was quite depressed when he filmed this movie, helps the movie to portray sadness, depression, mania, mental alienation and therapy with great accuracy. The movie has that profound eeriness that Japanese horror movies have, too, but explores other themes, and is not as entertaining, to be honest.

The surrealism of the movie is more Buñuel-Dali's in "Le Chien Andalu" than Tarkosky's, although some of the forest scenes and images would remind the viewer of the Russian Master, especially in The Mirror.

***
A few tags have been attached to the film by a few critics and, more often, by those people who have not watched the movie or follow what other people say without any further questioning. 

Critique given no. 1 - The movie is "offensively misogynistic" Really? I did not feel the hate towards women anywhere. The female character is a troubled spirit with a shocking behaviour, but if you consider that a proof of Trier's misogyny, you should categorise most Japanese horror film directors the same, as they have this sort of nasty women, too. To me, there is more misogyny in most Hollywood movies (in the way women are usually portrayed with regards to men and women) or in any bunch of randomly selected video-clips (where you will see women presented as trash and as pieces of meat) than in this movie. However, I don't see critics vehemently denouncing that.

The only misogyny in the film comes from the fact that the female character shifts the intellectual approach to her Ph. D. thesis called "Gynocide" (about the genocide of women through History) from a feminist one to a misogynist one. However, that is the direct result of her progressive mental and emotional alienation, in which she convinces herself that female nature is evil, as also her own nature, which explains the final horrific events. Von Trier offered an interview to Rotten Tomatoes, quite interesting, light and frank, that you might want to check if you want to see the movie or if you've already watched it

On the other hand, the male character is patronising, intellectually patronising, and his approach to his wife's problem, despite the love he has for her, is too clinical and emotionally detached - aseptically empathic if you want. So is not misogynist either.
 
Critique given no. 2: "The viewer cannot relate to the characters and their circumstances". Of course not. The movie deals with maniac depression, even schizophrenia at times, grieving, pain, and alienation. They are not sane characters. You do not need to relate to them at all.

Critique given no. 3: "The film is depressing". That's for sure, but, again, is a film about grieving and sadness, and the viewer knew that before watching the movie.
 
Critique given no. 4: "I do not know the point of the film", or "What is the movie about?". I think that, if the film had been more entertaining, you would not be asking that question. That is the director's fault. Still, the film has many different readings and interpretations. Some of the surreal and oniric images have no explanation, or as many explanations as you want. That is so, because our subconscious world is never straightforward or easily explainable: A fox eating itself alive, a gazelle with a dead foetus coming out, the sex scene under the tree, the dreams of the female character, some elements of European folklore and wizardry to mention just a few eerie (horrific to me) images. The mix of visual and narrative elements is overwhelming, and very complex.

*** 

Antichrist is an excellent movie, confusing a times, not entertaining enough, not easy to watch at all, with good performances. It contains horrific impacting images and moments that will upset you, especially if you are not into horror films. The film is still fascinating, but you are not going to recommend it to anybody to pass the time or have a nice relaxing Sunday afternoon.

Just a warning. If you are interested in watching explicit sex images, you better chose another movie, because you will be disappointed with the ones here, as the number of them is limited, of short length, and anti-erotic. Nothing that will turn you on - Guaranteed.

10/29/2012

"2046" by Kar Wai Wong (2005)

A marvellous movie by Hong Kong director Kar Wai Wong, with an original script, innovative film narrative, wonderful characters and a super-stylish visuals. The movie depicts with realism, nostalgia and lyricism the difficulties and constrictions of the human heart, to love and being loved.

It is a nostalgic view to the bygone loves of Tony Leung's, a part-time journalist and writer of romance novels, who lives in room 2047 in a hotel in Hong Kong. 2046 is the room where some of the stories happen, and also the title of Tony's sci-fi novel. The movie is the continuation of In the Mood for Love, and some references are directly related to the story in that movie.

1/ The visuals
The first thing that will catch your eye are the rich deep colours of the movie, especially the gorgeous reds and greens, but also the beautiful interior cinematography, the dresses, the make-up and hairdos, the colourful retro atmosphere and vintage texture of the film, the super-classy style of the film. Even the smallest detail is taken care of.

2/ The story
Two main themes are explored in the film, love and literature. The movie tells several love stories, but they are not corny, as this movie is a reflection on real love - about how the past conditions our present relationships, about how love obsession can self-sabotage your emotional life, about those people who love us but we cannot love, and about the importance of timing in love.

Secondly, the movie depicts the process of literary creation, how our life and experiences affect our writing consciously or not, and how they are intricately mixed together.

Tony's character is terrific so realistic and sophisticated at the same time, without all his human flaws well visible to the viewer. The women characters are quintessentially female, clever and powerful, and drop- dead gorgeous.

3/ The narrative
The narrative is circular but not straightforward as the different love stories are not chronologically told. The movie starts with one important story that happened in the past, and ends with the same story, as this story is the one that affected Tony's heart the most. Moreover, this circular and hopping movement is affected by the insertion of pieces of the present, in which Tony writes his novel 2046 and reflects about his past.

The narrative breaks the love stories in different pieces, placing them according to the heart, not according to the time in which they occurred. This honours Tony' emotional memory, although emotional memories are never linear, and they are also affected by our present. Moreover, the way the story is told is intensely evocative and full of nostalgia, and really engaging from a mental point of view. I think that a linear script would have ruined the movie and had a soapy effect.

4/ The acting
Tony Leung Chiu Wai (as Tony Leung), Ziyi Zhang (as Bai Ling), and Faye Wong (as Wang Jing-wen and the android) are terrific in their performances, completely in tune with the needs of their characters. This is specially true in the case of y Ziyi Zhang, who looks ravishing beautiful and offers an unforgettable depiction of an emotionally multifaceted woman. One wonders why such a fine talented actress is doing crappy movies in Hollywood while she can really perform.

Kar Wai Wong is a rare example of true artist, and this movie is a perfect example of that. Beware, this is not a movie of mainstream watchers or if you are just looking for a bit of fun.

10/28/2012

Fremantle Council's Anti-Graffiti New Policies

A full page of Friday's Western Australian newspaper was devoted to the new anti-graffiti campaign started by the Fremantle City Council in which everything that is not Art or artistic will be removed. A step ahead with regards to the current erase-all policy of the Council. The Article, among other things, says:

"Any work considered potentially interesting will be referred to other staff, with the city's public art officer and director of community services making the ultimate decision." 

It worries me that an administrative institution considers itself good enough to discriminate Art from non-Art based on the initial evaluation of a group of cleaners or Art Department officers. Unless a group of artists is walking the streets and/or part of the department, the news should be taken with caution. Australia is full, I mean full, of examples of idiotic senseless policies by City Councils. If we knew who these final-decision people are, we might feel more at ease with this new policy and join the clapping party.

Let's be clear. 

I hate my taxes paying for the indiscriminate destruction of private and public property. I hate buses or trains being scratched, painted or destroyed with ugly scrawls and insults, vandalised by young kids who use their spray cans to kill their time or get a thrill by doing something illegal. I hate the front of a household being painted with a scrawl or tag. There are plenty of lanes, back walls, car parks, and abandoned sites where they could do so easily and will save us the expenses of the cleaning up. I do not support or encourage any sort of vandalism.

Still, there are many forms and styles of graffiti. You cannot put all in the same bucket based on the opinion of a group of cleaners or public officers whose knowledge of Art is unknown or dubious. And, to be honest, if the graffiti is not damaging anybody's house or it is not especially ugly, why remove it? It would be cheaper for the tax payer to leave it there, no?

Plenty of "illegal" tagging, sticks and stencils in our State are -I'd dare to say- quite artistic and philosophical, as they are the way in which their creators show their inner world, wishes, frustrations and/or creative side and connect with us. It is a way of saying, I do exist and my opinion also counts and of the readers to share the same feelings or just reflect on what it is said.


If Councils regulate Art, Art is going to become a sheep within a herd, and nothing truly creative or slightly critical will come out. If Councils invest themselves with the power to decide what Art is or should be, they are killing its very core - Art is challenging, provocative, thoughtful and magical, no matter how beautiful it is. Look at Picasso's work. Not all of it is beautiful, easy to look at, or approachable to the vulgus; still, he was the most remarkable artist of the 20th century. If he was painting his work on the walls today, we would find plenty of people, and I mean plenty, that would think that it needs to be removed because it is non-artistic and ugly. If you are a fan of Picasso, think, for example, about Pollock or Rothko?

I am convinced that anti-graffiti campaigns actually encourage illegal graffiti and tagging, sticking and painting. Councils should be diverting the cleaning money to implement policies that let the youth use their cans in ways and places that suit their needs. I think that would be cheaper than cleaning up. So many millions spent on erasing instead of creating something.

Graffiti is a valid form of expression. It shows the pulse of a city, of a generation, and of a Culture. That is why there are remakable differences between the Street Art and graffiti you see in Granada (Spain), Malaka (Malaysia) or Perth WA, just to mention three very different places.

There is an empty wall close to my place, the lateral wall of a building hosting several businesses. A freaking ugly huge wall that I pass by every day to always tell myself that it needs of something painted on it. Last week, however, the wall was fully covered by a sentence -written in white- expressing a deep sense of social alienation. I guess, it was written by an Aborigine or an Immigrant. Or so I thought. I thought that that was subversive, in a good way, and something that lived up the ugly wall. The graffiti has barely lasted a week, now dormant beneath a layer of ugly brown paint that does not make anything lively. 

Many graffiti vigilantes -City Councils included- look with scary eyes at the world and see scary things everywhere, so they need to cover their eyes and ears from anything that subverts their pink unrealistic view of our community. Who is cleaning their way of looking?

10/25/2012

Utopia Bubble Tea (Perth WA)

71 Barrack St
Perth Western Australia 6000
0430 886 066
Official Website
Facebook Official Australia
Facebook Shop Perth


Utopia Bubble Tea on Urbanspoon The place is very functional, clean, cool, and open, perfect for both takeaways and hanging around with mates. It is always full of young Asian people from overseas, especially Koreans, Japanese and Taiwanese, which make me want to enter any place because they are  very cool.

Utopia has  a huge range of bubble tea (milked or not), crushed ice concoctions, smoothies and even Lavazza coffee. The taro milk tea is great, made using fresh taro (not taro paste) -or so I was told- and the taste of the tea is there, present, not hidden by anything. Sweet but just a bit, enough to make the flavours come and wander around your palate. Other flavoured teas I have tried, quite a few, are consistently good. My favourites so far being the mango green milk tea and the coconut milk tea. The only one I find too sweet is the newly added Oolong Cheese Latte.

Some of the sago balls they use are humongous, and very chewy-gummy. I love them, but they can overwhelm some people. If that is your case, go for the jelly or other extras, which are equally yummy but smaller. Their selections of toppings varied in shapes, textures and sizes, so, suit yourself. They have some little tubes with some samples on the counter, so you can see for yourself what they area, and how they look like.
Their sweet cabinets and shelves are really eye-catching even if you are not into sweets, with a beautiful selection of cakes, cake slices, pastries, cookies, and sweet and savoury buns. The pieces I have tried so far (hazelnut chocolate -my fav-, Tiramisu cup, egg tart and Pineapple cake)  are good, although they have different degrees of sweetness. A bit expensive for the sizing, but very fresh, good-looking and well-packaged. On the other hand, they seem to be mass produced; forgive me if I am wrong.

Their big cakes are stunning-looking, but again their prices are quite high. There are at least two Asian-style bakeries in Perth CBD hat bake daily and offer good quality beautiful whole cakes at cheaper prices. Ditto re the buns. They are not part of any chain. So I would go to those to cater for your big cake needs. Still the ones here are so eye-candy!

Service is fast and friendly - consistently. Day after day. Always with a smile. I love their wall of wishes, which is in tune with the Buddhist tradition you see in temples around South East Asia. They also have charity programs and donations, specials, free top-ups or size upgrades throughout the year, and new seasonal products are regularly added to the menu. They are really good at marketing what they sell, and do well at attracting and keeping their customers. That is what I call a dynamic approach to sale. That explains why the place is always busy and customers are happy.

Awkwardly enough, I do not have much negative to say, beyond what I have said about the cakes, which is not negative at all. I am getting too soft? :O.

Summer is coming, so pop up at Utopia and bubble around a bit.

10/23/2012

The WA Opera 2013's Poster Photos



Have you seen the posters, photos and images accompanying the program of the WA Opera season 2013? The "Year of the Divo" is the counterpart to this year's "Year of the Diva", and will showcase operas in which male characters are the protagonist. 

If you check the program and photos of this year's season and the ones of the coming season, you will certainly notice a few things:

* The photos are gorgeous. The sort of photo you find in Vogue or Harpers Bazaar with beautiful models, awesome make-up, hairdos, accessories, apparel and backgrounds.

 * Each photo has a person representing the main character of any of the coming operas. This year's program has gorgeous women in expressive photos, and next one has gorgeous men.

* The person photographed for each opera is not the leading singer, but a model.

* The models and photos of this year have men in sexy and erotic poses showing a bit of flesh. 

First reaction -  Wow, what a hunky. 

Second reaction - What what what?! 

 1 - I do love photos of gorgeous men lightly dressed, even naked :O if aesthetically done, but this is not a fashion or photographic magazine. I hate the objectification of women in Society; should I have a double standard regarding the objectification of men? If it is correct to showcase men in erotic attitudes and slightly dressed for an Opera program, why not doing the same with women? If that was happening there would be much more media attention and social discontent, that is for sure.

2 - If the program and main posters is/are about promoting and attracting public to the Opera, why does the WA Opera need to photograph pretty people whose only talent is being pretty, while those hyper-talented performers are not in the poster? Are they deformed? Are they super-ugly? Are they obese? Some of them are photographed in the inner pages of the program, that is great, but not in the posters that will be reproduced everywhere.

3- I doubt that the general public -those who are not Opera aficionados or hardcore fans- will feel more tempted to go to the Opera after seeing these posters. I won't. If the singer and the hunky were the same person, the answer might be different.

4- If the Opera season is not bringing much people to the theatres, and the WA Opera wants to attract more, why not asking themselves those basic common questions that might help to attract more people. Questions like:
  • Are the prices high in general? Are the prices too expensive for students, families and pensioners? Are the season subscriptions too expensive?
  • Are the showing times convenient and attractive to different groups of people?
  • Is the program  attractive enough in general?
  • Are the individual operas attractive enough?
  • Are the operas' stage design, wardrobe, lighting and ambience cool enough?
  • Is His Majesty's Theatre a good place to represent the specific operas chosen? 
  • Do the specific operas showcase themes and stories that connect with the modern spectator?
***
I do love Opera, without me being an expert or connoisseur. I attended several shows last year and even more the previous years. I enjoy the dressing up, His Majesty's and the shows. I have always found myself wowed by the talent of the musicians of the WASO, which plays in most shows. Sometimes, I find myself moved by the singing qualities and performance of the night. I always leave the theatre thinking how fortunate I am to attend, live, a show in which the players needed of years of study, practice, many different skills, plus an unbelievable innate talent to do just that. They should be in the poster photos, dressed in those gorgeous outfits they use to perform in. After all, they are the ones that will bring the public to the Opera, and make you want to return, not pretty boys and girls. Their voices and talent, not their pretty faces or gorgeous bodies.

 Still, I understand why Opera is not attracting young people, why many old people snooze soundly while attending -yes, they do!-, and why I, myself, feel sometimes emotionally disconnected from what I am watching and listening to. A reason why I haven't gone to the Opera this year.

I do value the classics and enjoy classic operas and some of their arias and stories, but most classic operas do not speak to modern sensibilities, or my sensibility, beyond the artistic quality of the show as a whole. Sometimes, the scripts are sexist or simplistic, some others are a reflection of the issues, themes, characters, places, ways of living and fashion that were in vogue at the time the opera was written. In fact, those operas were super-cool, the last big thing, at the time - avant-garde or contemporary. 

However, we are not living in the 17th, 18th or 19th century. Our time knows the wonders of experimental and mainstream cinema and theatre, musical theatre and cabaret, TV soap operas, music bands, and much more. Thus, a simple opera needs more than good music, good lyrics, and good performers to move us - to connect. Pretty posters with contemporary fashion-style photos won't turn a program based on old classics into a contemporary thing, simply because the program is not contemporary. Oxymoron!

I think the WA Opera needs of better pricing to attract people with not many means, needs of more shows, more showing times; most importantly, it needs to reinvent itself and start offering operas that, despite not being so popular or known -the favourites- have a more contemporary feeling, modern stage and wardrobe design, and stories that are closer to the world, feelings, worries, and issues of the citizens of the 21st century.

I am not saying that old classic operas are invalid or that do not have universal themes. Some of them are and have. I am saying that the WA Opera, and Opera venues and companies in general, need to think out of the square, think more about the present and the future and less about the past. That would be super-cool. Cooler than investing in a marketing campaign that showcases the beauty of the models and of the photos, instead of the incredible talent  of the persons who are behind the music, voices and theatre of the WA Opera as a whole.