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Showing posts with the label Stein Gertrude

Singing Stein

Just enjoyed an evening of odd, wonderful Gertrude Stein. Singing Stein is Encompass New Opera Theatre's contribution to Gertrude's Paris Festival at Symphony Space. The program note, written by Encompass Artistic Director Nancy Rhodes, describes the background and the works: Tonight you will see Virgil Thomson's Capital Capitals , the first musical stage piece he set to Stein's words in 1927. Thomson turned the text that Stein wrote in 1923 using demographic field reports and statistics into a competitive musical conversation, a joust for four gentlemen.... During World War I, Gertrude drove an ambulance in the South of France, and became intrigued with the sunny cities of Aix-en-Provence, Arles, Avignon and Les Baux. In Capital Capitals , she fashioned a garrulous discussion among four men who represent those cities. Capturing her wit, Thomson employs a panoply of rhythmic variety, using some of his Missouri plainchant, C majorish ditties, and undulant Spanish rh...

Poem: "Gertrude and Adrienne"

Gertrude and Adrienne Shall I praise the former’s void or shall I praise the latter’s substance?             Taniguchi Den-jo, “Chiyo and Utagawa: Two Women” Gertrude Stein of 27 Rue de Fleurus collected geniuses while Alice amused their wives with stories of the cats and recipes. The writer put down her words evenly like paint so that every word had its own value. The writer put down her words evenly like paint so that every value had its own word. I admire that. Adrienne Rich gathered Black Panthers and Vietnam protesters in her New York apartment. After they separated, her husband drove into the woods and shot himself. This writer breaks down the order of words and builds it up anew. There is an order that is not oppressive, if it can be found. Shall I praise the former’s tender buttons or the latter’s diving wreck?             American radicals, I think...

Collectors and Promoters: the Steins

The Steins Collect at the SFMoMA is a big show. it reunites the collections of Gertrude, Leo, and Michael and Sarah Stein, dispersed after their deaths. Gertrude and Leo collected both Matisse and Picasso, among other artists, until they quarreled over Picasso's turn to Cubism. Leo rejected Picasso and became contented with looking at Matisse's new work in exhibition. Gertrude continued to champion Picasso, but not Matisse, for she saw an analogue in the Spanish master's experiments in forms to her own avant-gardism in writing. Michael and Sarah remained faithful to Matisse, who loved their son Allan and painted him many times. Portraits of Michael and Sarah by Matisse were hung in pride of place in their house. There were so many Matisse works in the show that it was impossible to do them justice on one visit. I was enchanted by joyous colors of The Girl with Green Eyes, as well as a small delicate drawing of Madame Matisse in the olive grove. The Conversation, a paintin...

Stein's "The Good Anna"

The language in this short story is plain and sturdy, like the good Anna herself, a German woman who lived to serve, to manage and scold her big and helpless mistresses. The repetition of sentences, almost word for word, serves as the verbal equivalent of the moral touchstones that Anna lived by to be good. Through repetition, the simple diction gains the fervency of commitment, and the mystery of constancy. Part 1: Anna led an arduous and troubled life (5). You see that Anna led an arduous and troubled life (7). You see that Anna led an arduous and troubled life (14). Part 2: The widow Mrs. Lehntman was the romance in Anna's life (23). Remember, Mrs. Lehntman was the romance in Anna's life (26). Mrs. Lehntman was the only romance Anna ever knew. (42). But what could our poor Anna do? Remember Mrs. Lehntman was the only romance Anna ever knew (44). When the exposition on friendship and love comes, it comes with a eloquence powered by the directness before and after it: In frien...