Aria da capo


(5)  Millay biographer Norman A. Britten explains the play by writing that “One must see things in terms of a circle: an audience of real people in a theater are viewing a play representing a theatre where scenes are portrayed by actors who reluctantly take unwelcome “parts” which they find to be ‘real.’”(6)Millay’s set description for when the curtain opens is found in the opening stage directions:A merry black and white interior.  Directly behind the footlights, and running parallel with them, is a long table, covered with a gay black and white cloth, on which is spread a banquet.  At the opposite ends of this table, seated on delicate thin-legged chairs with high backs, are Pierrot and Columbine, dressed according to tradition, excepting that this Pierrot is in lilac, and Columbine in pink.The description causes one to remember the Zorachs’ design for Kreymborg’s Millay directed the play, casting her sister Norma as Columbine and her friend Harrison Dowd as Pierrot.  Dowd was a Renaissance man whom Millay met soon after she arrived in the Village, an accomplished pianist and later novelist.  Ellis and Light were cast as the two shepherds, and Hugh Ferriss played Cothurnus, an architect and delineator whose renderings would soon be considered as priceless art. (5)  Millay biographer Norman A. Britten explains the play by writing that “One must see things in terms of a circle: an audience of real people in a theater are viewing a play representing a theatre where scenes are portrayed by actors who reluctantly take unwelcome “parts” which they find to be ‘real.’”(6)Millay’s set description for when the curtain opens is found in the opening stage directions:A merry black and white interior.  Directly behind the footlights, and running parallel with them, is a long table, covered with a gay black and white cloth, on which is spread a banquet.  At the opposite ends of this table, seated on delicate thin-legged chairs with high backs, are Pierrot and Columbine, dressed according to tradition, excepting that this Pierrot is in lilac, and Columbine in pink.The description causes one to remember the Zorachs’ design for Kreymborg’s Millay directed the play, casting her sister Norma as Columbine and her friend Harrison Dowd as Pierrot.  Dowd was a Renaissance man whom Millay met soon after she arrived in the Village, an accomplished pianist and later novelist.  Ellis and Light were cast as the two shepherds, and Hugh Ferriss played Cothurnus, an architect and delineator whose renderings would soon be considered as priceless art. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. The play that caught the attention of the critics on this bill, the second bill of the 1919-1920 season, was Spurred on by an eviction of Millay and her family from their Charlton Street apartment early in the year, the poet became driven to earn money writing, even adopting the pseudonym “Nancy Boyd” so she could write fiction and essays without it affecting her reputation as a poet.  During the late summer and fall, Millay wrote some of her most famous sonnets, including “What lips my lips have kissed,” “Euclid alone has looked on beauty bare,” and “Wild Swans.”  She also completed There are expressionistic moments throughout the play, precursors to what Brecht would advocate years later, when Millay stops the action with Columbine barging in to demand her hat of Cothurnus in the middle of the shepherds’ scene.  There are other interruptions and often Pierrot and Columbine’s voice are heard off-stage, layering on top of what is happening with the shepherds.  Norma Millay and Charles Ellis told Sarlos that “the realistic characterization of the shepherds stood in sharp contrast to the highly stylized performance of Columbine and Pierrot,” and this is clearly what Millay intended. According to Randel, a number of Baroque composers (he lists Hasse, Handel, Porpora, Leo, and Vinci) composed more than a thousand da capo arias during their careers. Good for high schoolers to put on. : an aria in 3-part musical form comprising a theme, a secondary contrasting part, and a repetition of the first part.

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