Masaryk university of brno faculty of education

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He falls on her. She screams.

SALIERI. (to Audience) Before I could rise, it had become difficult to do so. (Shaffer “Amadeus” 16-17)

Mozart is portrayed in a perspective of a mentally immature individual, but the more he reveals his style of self-presentation, the deeper feelings of delusion and manipulation he gives. If I state earlier in my thesis that Salieri manipulates with people, the same could be claimed about Mozart. He deliberately provokes by his outfit appearance, especially his ruffled-wig style and exaggeratedly fitted clothing in which he representatively appears on formal occasions. His cues and comments are straightforwardly accurate, free from any flowery curls, and without an exception they hit the point. He is fully conscious of where and how to hurt Salieri’s peacockery and has an ingenious skill to humiliate his rival in public. Mozart proves his brightness and readiness which he manages effectively against Salieri. He is far too agile and alert rather than infantile as he appears to be.

The manipulative tendency represents a significant theme directing the destiny of both characters. In Amadeus the motif is rather explicitly expressed by the relationship between Mozart and Constanze Weber. His ‘hanky-panky’ flirting with his expectant wife is like running blood into his veins and her sexual appetite is the dominant factor in their mutual attachment. At the same time it is also the only escape from the misery they go through. In contrast, Salieri has voluntarily renounced all sexual intrigue or even hints of physical attraction of his music students in exchange for a covenant with God. He abides by the celibacy, yet only until he finds to have been betrayed, and it is Constanze who becomes his first victim of extortion and manipulation. The hunger for revenge fights in him with decrease of dignity. Finally, being offered her body, Salieri refuses, disgusted begins to realize his moral destruction, an act of humiliation.

Commonly, in both plays the sexual conflicts are expressed by a rape in the territories: in Vienna it is Mozart abused by the aristocratic institutionalism and opportunism, in The Royal Hunt of the Sun it is the rape of one country by another.

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