finally

i had poison ivy, which got defeated by sunburn, and as they were both healing and on their way out a layer of bugbites blanketed it.

sendmetosolaris:

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you can use that dog, and the conversation. 

mythologyofblue:

“Lucidity is the wound closest to the sun.”

-René Char

Siegmund and Brunnhilde, from the Seattle production

and the lament for not being able to study with him totally isn’t even a thing any more

what sounds more sarcastic, italics crossed out or just crossed out?

I’m not happy about some things, is the point. 

no but at the end of the day, I really do appreciate this stuff being on soundcloud so I can listen it. 

Siegmund and Sieglinde by Rackham, Meretta, and Makert

whatshouldwecallopera:

thanks to fal-parsi for the submission!

whatshouldwecallopera:

no way, this blog

…

…

HOLY SHIT. 

I know people make jokes that Regie is on the verge of doing Wagner-is-Star-Wars all the time, but in Lohengrin, for some reason, it just occurred to me that the Swan Knight uses the force to get shit done. I mean I could block it like that if I wanted to. 

whatshouldwecallopera:

you’re likely to see something like

oh Regie

why is there even a marketing budget? 

make a trailer every now and then, and release a couple notes to the press, and YOU’RE DONE. 

the “fan-made posters” literally negate “official” posters. 

the reason I’m really posting, though, is I wonder if anyone will actually use this as the marketing strategy. 

If anyone was going to, it was going to be Dark Knight Rises, and I can’t think of why they didn’t. 

Not posting about why I’m psyched for this to come out. this isn’t that post. Maybe I’ll get into it some other time. 

jujutsu-with-zizek:

Eagleton on the Nietzschean eternal recurrence of the same:

Nietzsche’s doctrine of eternal recurrence – the truth that nothing can ever be irreparably sunk in this ceaseless cosmic recycling – is both the ultimate horror and an escape from absolute loss. … Those modern-day critics who celebrate madness, transgression, desire and disruption from the Apollonian comfort of their armchairs forget, as Nietzsche does not, how malignant such forces can be. The bliss of Dionysus is laced with the anguish of division, as we desire to be at one with Nature but also to tear ourselves from its orgiastic embrace. Dionysus is at once the principle of unity and individuation, identity and difference, breaching boundaries in the name of communal bliss yet also, as the god of progress and evolution, summoning us to autonomous existence. In tragedy this whole conflictive process, simply to be rendered bearable, is then framed, distanced and sublimated in the domain of the Apollonian, with its rational knowledge, moderating limits, formal pleasures and beautiful unities. One kind of pleasure thus redoubles another. At the very moment that the Real of the Dionysian threatens to trau- matize us, rendering us unfit for action, the Apollonian or symbolic order casts its enchanting veil of illusion over this abhorrent abyss, reshaping its unspeakable horror as the aesthetic sublime. Each dimension will then play into the other, as dream-world and intoxication merge and begin to speak each other’s language, beauty or the Apollonian rescuing the Dionysian from pure amorphousness, and the Dionysian redeeming the Apollonian from the dead-end of sheer vacuous form. Tragedy is Dionysian impulse discharging itself in Apollonian imagery.