Dalí’s Salomé

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Queen Salomé (1937) by Salvador Dalí.

Of all the Surrealists, Salvador Dalí had his fingers in the most cultural pies—designing for film and theatre, writing books (including a novel, Hidden Faces), even performing occasionally, or at least making a public spectacle of himself—so it’s no surprise to find him adding to the stock of 20th-century Salomé interpretations, first in a drawing then for the stage. The stage work was something I hadn’t run across before (not since this current obsession began, anyway), a 1949 production of the Strauss opera at Covent Garden directed by Peter Brook. The now celebrated theatre director was at the outset of his career when he chose Dalí as his designer but the resultant furore shows that Brook’s ability to challenge an audience (or at least, a gaggle of theatre critics) had an early start. The critics savaged the production and the show closed after only six performances. Brook, who was sacked, had this to say:

The critics all decided that Dali and I were only out to annoy them. There, at least, I might claim that they underestimated us; if that have been our intention I think that between us we might have done much worse… (More)

Getty Images has some tantalising photos here, here and here, but I’ve not seen anything in the way of production sketches. The objections seem to have been the usual tiresomely English revulsion against anything too original, too strange or too imaginative (it’s no wonder Leonora Carrington abandoned Britain for Mexico). An article about the production from the BBC’s Music Magazine includes this detail:

In the last scene for Dali and Brooke, [Salomé] was slowly covered over by a sort of green ooze of bile that came from the head of John the Baptist, an effect of luxuriant disgust which we can imagine without too much difficulty, bearing in mind others of Dali’s images.

That piece also mentions a proposed restaging of the opera with Dalí’s designs but I’ve been unable to discover whether this took place. If anyone knows better, please leave a comment.

Elsewhere on { feuilleton }
The Salomé archive

Wild Salomés

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So there’s a poster for Al Pacino’s forthcoming drama-documentary about the Oscar Wilde play but I’ve yet to see any release details. The tagline connects Salomé with The Ballad of Reading Gaol: “We kill the thing we love.”

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Searching around for posters turned up this item for an Italian-French co-production of the Wilde play directed by Claude d’Anna. I’ve not seen this but it can’t be any worse than Ken Russell’s version so it may be worth seeking out.

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Far better poster-wise is this splendid creation by Anselmo Ballester for the Italian release of the 1953 Hollywood film (which isn’t based on the play). Rita Hayworth was too old for the role, and the film is simultaneously lavish and dull in the way that so many sword-and-sandal epics manage to be, but the poster is a gem. This site has many more examples of Ballester’s poster art.

Elsewhere on { feuilleton }
The Oscar Wilde archive
The Salomé archive

Deutsche Kunst und Dekoration #16

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Continuing the delve into back numbers of Deutsche Kunst und Dekoration, the German periodical of art and decoration. Volume 16 covers the period from April 1905 to September 1905, and includes further rectilinear interior design from the Wiener Werkstätte. There’s a lot of architecture in this edition, not all of it very distinctive. Of more interest for me is another feature on the peacock-haunted illustrations of Heinrich Vogeler, and an article about the work of Edward Gordon Craig, an English theatre designer who we’re told was the son of Ellen Terry and, later on, one of the numerous lovers of Isadora Duncan.

As usual, anyone wishing to see these samples in greater detail is advised to download the entire volume at the Internet Archive. There’ll be more DK&D next week.

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Continue reading “Deutsche Kunst und Dekoration #16”

The Vengeance of Nitocris

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Cover illustration by CC Senf.

In her mind the queen Nitocris was seeing a ghastly picture. It was the picture of a room of orgy and feasting suddenly converted into a room of terror and horror, human beings one moment drunken and lustful, the next screaming in the seizure of sudden and awful death. If any of those present had been empowered to see also that picture of dire horror, they would have clambered wildly to make their escape. But none was so empowered.

Everyone today will be marking the Tennessee Williams centenary by noting his theatre work, of course, or his subversive celebration of outsiders and, yes, the gays. I’ll confine myself to reminding people that Williams’ first published work was a short story entitled The Vengeance of Nitocris in Weird Tales for August 1928, written when he was only 16. The story reads like the work of a teenager but editor Farnsworth Wright evidently enjoyed an atmosphere of lurid Egyptian melodrama which you can appraise for yourself here. Also in this issue was the debut appearance of Robert E Howard’s Solomon Kane, and The Demoiselle d’Ys by Robert Chambers. Seeing the name Nitocris I have to wonder whether Williams chose it after reading HP Lovecraft who used the name twice in earlier stories published in the same magazine, Imprisoned With the Pharaohs (1924) and The Outsider (1926). That last piece was one of Lovecraft’s most popular tales, and it’s easy to imagine its grotesque parable of alienation making an impression on a would-be writer who, as a gay youth, would have looked upon himself as another kind of outsider.

Previously on { feuilleton }
The King in Yellow

Wildeana 5

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Gertrude Hoffmann dressed for her opera role as Salome (1908).

Continuing an occasional series. Some people may be surprised to hear that Al Pacino loves Oscar Wilde’s Salome. He acted in a stage version of the drama in 1992 playing Herod to Sheryl Lee’s Salome (the Godfather versus Laura Palmer), and in 2006 announced an intention to make a drama documentary about the play. He talks about his interest in Wilde’s work here. IMDB currently has a page showing a 2011 release for Wilde Salome by Al Pacino but the film’s release has already been subject to delays. Related: Clive Barker’s Salome from 1973; Derek Jarman meets Hammer Horror.

• A post from last year that I should have linked to a lot earlier: A Wilde Library at Little Augury, being a detailed exploration of Wilde’s Tite Street furnishings and interior decoration.

• Oscar Wilde at Tumblr: Oscar Fingal O’Flahertie Wills Wilde and Oscar Wilde Assembly. Then there’s Youth is wasted on the young, a charmingly obsessive Dorian Gray blog.

• Actor Brian Bedford (again) is interviewed by Kevin Sessums about playing Lady Bracknell in a New York production of The Importance of Being Earnest.

What Oscar Wilde could teach us about art criticism by Jed Perl.

Oscar Wilde, classics scholar by Daniel Mendelsohn.

Scarlet letters lift the lid on Wilde’s dalliances.

Elsewhere on { feuilleton }
The Oscar Wilde archive