Hehe Mini Enjolras

Hehe mini enjolras

To the sewers!

I feel like Victor Hugo would love this transition to the sewers setting

Jean Valjean catches Marius falling from having been shot. He points at an escape route and tells the audience he'll go via the sewerage. (Les Misérables peking opera, 2006)

The fact that I cannot understand Chinese at all, and this was one of the few terminologies I could read (since Japanese uses the same characters) made me accidentally laugh out loud.

It was a jumpscare of comprehension.

I will say, this is obviously my first experiencing watching a Peking Opera, so I'm just not used to the style of writing yet. I really love it though!! I can't believe this artistic, fun, acrobatic way of theatre was hidden away from me 😭😭

17 notes View Post

nel-ii

2 months ago

a small super deformed drawing of Bossuet, joky and musixhetta from les Miserables around an old school computer. joly is laying down on the top of the screen and using his cane to press on a key, while an orange cat is trying to catch his cane. musichetta is playing hopscotch on the keys. bossuet's foot has caught on cables sticking out of the floppy reader and he's falling down, scaring a black cat.

Have you noticed that JMB is one letter away from IBM ? Because I sure did, and that's what you got.

That was fun to draw.

The computer is 100% my Divoom speaker with a few more buttons. I love it.

That one was for @jbm-week ! Spread the JBM love !

43 notes View Post

nel-ii

2 months ago

Enjolras

Alt under cut

I call this a fever dream Les Misérables

^ Evil Jean Valjean turns the Bishop turns into a set of silvers

^ Two Bishops turn into a set of silvers with no context

^ Four Bishops turn into silverware

Behrouz Gharibpour's 1997 Les Misérables tele-theatre | تله‌تئاتر بینوایان

Behrouz Gharibpour is well renowned in theatre (especially in traditional Persian puppeteering!), and he directed Bahman Cultural Center's 1997 production of Les Misérables. (Link to the recording of production at the bottom of this post)

Gharibpour had previously worked on a Farsi translation of Les Misérables in 2006.

The location of the 1997 play was important as the Bahman Cultural Center was in the capital’s less affluent southern district. To contrast, the theatre audiences would mainly comprise of the wealthy sector of society.

Around about ten years later, he directed and wrote a stage adaptation of 'Uncle Tom’s Cabin' in the same center.

“My aim in staging this play was not just to depict poverty— I also wanted to call attention to ignorance, because I believe ignorance to be more painful than poverty." [...] “The media censorship of blacks in the United States and the U.S. government’s behaviour towards racial minorities in housing and also the slowness in delivering relief after the destruction wrought by Hurricane Katrina indicate that discrimination still exists in the society. [Uncle Tom’s Cabin] raises many other important issues and questions. Our behaviour towards Afghan immigrants in Iran is an example of one of the main issues touched on in the drama."

Available at: https://www.tehrantimes.com/news/163730/Ignorance-is-more-painful-than-poverty-in-Uncle-Tom-s-Cabin

By 2007, Gharibpur resigned as director of the Iranian Artists Forum "following criticism of certain performances staged at the venue which highlighted Iranian and foreign scholars and intellectuals."

"[...] About dealing with the ancient and traditional rituals of Iran; I must say that it is not the only issue of dealing with ancient and ritual roots. The main issue is reconciling the audience with the theater. Many people are still afraid of the theater and think that the theater belongs to a certain class, and this special class is intellectuals and book readers. I attracted a large number of audiences to the theater by performing the plays "Les Misérables" and "Uncle Tom's Cabin".Therefore, my concern has not changed since I entered the world of theater at the age of fourteen, and that was to attract the audience as much as possible."

Available at: https://theater.ir/en/165680

From these statements, we can see that there are political ties and messages conveyed from the stage adaptations of Les Misérables in Iran. In fact, in the later 2019 production, the same issues were raised about the wealth disparity and the irony of the theatrical performance of Les Misérables when it was only available for the wealthy.

It seems that, even after twenty odd years, similar sentiments are expressed by the public.

At the end of the day, Gharibpour fought to have his plays be more accessible to combat these struggles, of which he places responsibility in Iranian cultures on the relationship between class, wealth, and theatre.

He has additionally compared his translations and works to the current socio-political environment of Iran.

However, there had been criticisms to the above:

“Other social classes can attend other plays; you shouldn't expect the entire public to come and see this particular production. Of the 150,000 people who saw our work, are all of them wealthy, privileged, and without pain? I strongly disagree with the claim that we are producing this for only a specific group."

Available at: https://www.tebyan.net/news/458977/%D8%A8%DB%8C%D9%86%D9%88%D8%A7%DB%8C%D8%A7%D9%86-%D8%AA%D8%A7-%D8%AF%D9%82%DB%8C%D9%82%D9%87-%DB%B2%DB%B5-%D8%AC%D8%B0%D8%A7%D8%A8-%D8%A7%D8%B3%D8%AA

To watch the tele-theatre (I don't think all of the episodes are uploaded, but I haven't watched it yet so I don't know in confidence):