torn-coattail - give us this day our daily mask
give us this day our daily mask

what horizon...?putting les amis de l'abc in a timeloop (aka writing a play !!). mostly here for the les mis but also occasionally losing my mind over shakespeare. Extremely Normal about metatheatre.

315 posts

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10 months ago

today i am thinking about the eight bullets that kill enjolras, and how i always see people saying they represent his eight friends to die at the barricade, but when i first read his death what came to my mind was the eight men to escape the barricade alive: valjean, marius, javert, and the five men who are given the national guard uniforms. i think of those eight bullets being meant for those eight men, and enjolras taking them all. he did not change the world in the way he meant, but he changed the world for eight men, and that has to be enough.


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10 months ago

this is an invitation to infodump. i would LOVE to hear the thoughts you have on beggars at the feast, should you want to talk about them

AUGH ok ok let's see how well I can articulate...anything

OK so first: In the Letters server lately we've been talking a bit about how , in the book, Thenardier is WAY more the Human Nemesis than Javert is. He shows up earlier than Javert does; he's able to be a threat in ways Javert can't be, and to people Javert can't and wouldn't even try to touch ; he shares a TON of paralleling symbolism and class-blurring roles with JVJ; he's the last Personal Threat remaining in the novel, and the last thing we hear about him is that he's not only thriving , he's committing worse atrocities on a grander scale than anything we saw in the book, and getting nothing but social approval for it.

Thenardier is a nightmare, and he's triumphant, and as such he's a condemnation of society in an equal and opposing way to Jean Valjean. Valjean's story (and Fantine's , and the Thenardier siblings' ,. and the Amis , etc) says "look what we're destroying, look at the actions we punish". Thenardier's ultimate triumph as a literal slave trader flips it around and says "look what we support, look at what we endorse, look at what we elevate and approve." (now within the book I could take this farther , I could point out that the only thing within the novel that breaks any of the miserables free of their oppression to any degree is crime of some kind, be it revolution or theft or Being an Accomplice or exploitation, and the only thing that costs the (relatively) privileged their security and power is to truly ally with the miserables, but !! I'm talking about the musical)

In the musical Thenardier is softened a lot. Like... a LOT. The Thenardiers' exploitation of Fantine is barely mentioned ; their violent abuse of Cosette is turned into a joke; their abuse of Eponine is minimized (and their other kids are either Not Appearing in this Play or not obviously connected to them) ; and that final doomstrike epilogue, Thenardier becoming a slave trader, is gone. He's no longer the primary and most dangerous human antagonist; as in many other adaptations, that's now Javert.

So there's a different arc but it's there : From Master of the House and the Robbery , when he largely comes across as a gross but funny Comic Villain ; to the Attack on the Rue Plumet, where we finally see a bit of danger to him; to Dog Eats Dog, where he is really just acting on the same philosophy we saw in MotH but now doing something most people have a more immediate revulsion to, and the mask is really off; to , finally, Beggars at the Feast. If Beggars at the Feast is done RIGHT, This is Where The Villains Win.

They've gotten knocked around, sure, but they've also just gotten a ton of money, and, if done right, they are either blending in with the society party or, in the best staging * , they end up leading the dance. It's Master of the House all over again, only this time we're not being invited to laugh along with Thenardier's "band of soaks" ; this isn't the dregs of society, an easily stigmatized lower-class punchline.

This is Society, capital S Society, and they're just as ready to go along with him-- MORE ready to go along with him, even, because at least some of his inn customers usually get to be affronted and argue a little, but arguing with him risks some Unpleasantness, and isn't everything in Society so pleasant? Isn't it nice here, at the party? Let's not argue with the openly hateful people singing about how they want to destroy us all; look, they're dancing and singing! Let's just follow their lead. Won't that be nice.

And without getting into modern politics just because it's ALWAYS so current and I could never update the references frantically enough, I'll say that this is where Stage!Thenardier most echoes those Book!Thenardier Napoleon III vibes. Hugo knew what this dance looked like. He fell for it at one point.

(and hey, maybe it even raises some unease in audience members who laughed at MoTH and the child abuse and the Robbery without thinking about it-- maybe some people realize Oh Shit, We Fell For It Too. Not necessarily, but maybe?? ) And so it's fitting that it's this scene that has IMO a very clear sense of the book's incredibly specific political message ("Parisians, France, Please Overthrow Napoleon III, Probably With Barricades" ) , albeit in reverse. The Thenardiers gloat "Clear away the barricades and we're still here!" -- to them, a brag on how they endure all the changes around them.

But also implying: don't clear away the damn barricades. If you don't want the Thenardiers to run the show , help shore up that furniture wall and fight (for a modern international audience, this is probably going to be Not AS Specifically Involving Barricades).

So yeah. I'm not gonna say it's the most important song in the whole show , but it's important in ways I rarely see critics or commenters notice.

...Or it's just a funny musical reprise and you can have the Thenardiers be immediately thrown out of the wedding as frauds bc hahaha the poors thought they could play with their betters, good thing we're all so much smarter and cooler than that in the upper crust. That's fine too.

yes I have opinions; also I'm Correct


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11 months ago
Screenshot of a document in script format reading:
ENJOLRAS: There’s only one possible outcome.
FEUILLY: There was never a way out. Not for us. 
Stage direction, in italics: And suddenly, COURFEYRAC’s friends’ words could not sound more haunting to him. They might be talking about something quite different, now. He feels near to, but does not quite grasp, this notion that all of this has been going on for a long, long time, and he is momentarily aware that he is not on the streets of 19th-century Paris at all.
COURFEYRAC: When every other road is closed off… 
COMBEFERRE: We have no choice but to play it out.

HI LES MIS FANDOM do you want to hear about my les amis play !! I promise it's not all metatheatre; there's lots of Revolutionary Talk and french history and les amis being silly :D come to barricades con this weekend!! there's still time to get tickets!


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