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By Matthew Wilson Smith
The entire murals presents a vast survey that includes many canonical artists right into a unmarried narrative. With specific awareness to the impression of the full murals on smooth theatre and function, this short creation can also be of curiosity to scholars in such fields as movie stories, song background, heritage of artwork, cultural reviews, and glossy ecu literatures.
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5:333/9:336*)14 38 Total stage What Wagner is describing here is a vast performance-machine. And it is, more precisely, a performance-machine ashamed of its status as machine. ” That the mechanical nature of the total work of art should be a source of discomfort for Wagner follows from the stark dichotomy between mechanism and organism he inherits from Schiller, and stretches to the breaking point. Throughout his writings, as we have seen, Wagner’s distinction between organism and mechanism has explicitly political as well as aesthetic connotations.
In German as in English, “Herd ” (“hearth”) is one of the keywords of folk-ish sentimentality, associated with such phrases as “Heim und Herd” (“home and hearth”) or “eigener Herd ist Goldes wert” (“there’s no place like home”). It is an important term in Wagner’s music-dramas, suggesting Gemütlichkeit, Gemeinschaft, and bygone days. In Tannhäuser, for example, the Landgraf curses Tannhäuser with the words, “schmachbefleckt ist unser Herd durch dich” (“our hearth is disgraced through you”), as though no more damning image than a corrupted hearth could be found.
We assume that the top of the tree spreads out above the roof. Around the top of the ash, as central point, a room has been constructed. The walls are of rudely hewn wood, here and there hung with plaited and woven rugs. (6:2)7 In Wagner’s description, the branches of the ash-tree have already begun to sprout off from the trunk before the ceiling is reached, indicating a tree of somewhat less than sublime size. Moreover, the interweaving of tree and house is a graceful one: the openings in the roof “exactly fit” the tree branches, and the walls of the house, made of rough-hewn wood, blur the distinction between nature and artifice.