Coming Out - Lysistrara - Lysistrara (Vinyl, LP, Album) download full album zip cd mp3 vinyl flac
Sjap Gerits. Christian Scheja. Jimi Luxembourg. Vincent Baverel. Baar Flint. Philippe Farges. Yoann Lelarge-Georget. Olivier Raffin, LP. Purchasable with gift card. For worldwide distribution, please check Vicious Circle Records: bit. The Thread Asylum Answer Machine At this time, Greek theatre was a profound form of entertainment, which was extremely popular for all audiences as it addressed political issues relevant to that time.
These lines, spoken by the Athenian Lysistrata and her friend Calonice at the beginning of the play,  set the scene for the action that follows. Women, as represented by Calonice, are sly hedonists in need of firm guidance and direction. Lysistrata, however, is an extraordinary woman with a large sense of individual and social responsibility. She has convened a meeting of women from various Greek city-states that are at war with each other.
There is no explanation of how she manages this, but the satirical nature of the play makes this unimportant. Soon after she confides in her friend her concerns for the female sex, the women begin arriving. With support from the Spartan Lampito, Lysistrata persuades the other women to withhold sexual privileges from their menfolk as a means of forcing them to conclude the Peloponnesian War. The women are very reluctant, but the deal is sealed with a solemn oath around a wine bowl, Lysistrata choosing the words and Calonice repeating them on behalf of the other women.
It is a long and detailed oath, in which the women abjure all their sexual pleasures, including the Lioness on the Cheese Grater a sexual position.
Soon after the oath is finished, a cry of triumph is heard from the nearby Acropolis —the old women of Athens have seized control of it at Lysistrata's instigation, since it holds the state treasury, without which the men cannot long continue to fund their war. Lampito goes off to spread the word of revolt, and the other women retreat behind the barred gates of the Acropolis to await the men's response. A Chorus of Old Men arrives, intent on burning down the gate of the Acropolis if the women do not open up.
Encumbered with heavy timbers, inconvenienced with smoke and burdened with old age, they are still making preparations to assault the gate when a Chorus of Old Women arrives, bearing pitchers of water.
The Old Women complain about the difficulty they had getting the water, but they are ready for a fight in defense of their younger comrades.
Threats are exchanged, water beats fire, and the Old Men are discomfited with a soaking. The magistrate then arrives with some Scythian Archers the Athenian version of police constables. He reflects on the hysterical nature of women, their devotion to wine, promiscuous sex, and exotic cults such as to Sabazius and Adonisbut above all he blames men for poor supervision of their womenfolk.
He has come for silver from the state treasury to buy oars for the fleet and he instructs his Scythians to begin levering open the gate. Lysistrata restores order and she allows the magistrate to question her. She explains to him the frustrations women feel at a time of war when the men make stupid decisions that affect everyone, and their wives' opinions are not listened to. She drapes her headdress over him, gives him a basket of wool and tells him that war will be a woman's business from now on.
She then explains the pity she feels for young, childless women, ageing at home while the men are away on endless campaigns.
When the magistrate points out that men also age, she reminds him that men can marry at any age whereas a woman has only a short time before she is considered too old. She then dresses the magistrate like a corpse for laying out, with a wreath and a fillet, and advises him that he's dead. Outraged at these indignities, he storms off to report the incident to his colleagues, while Lysistrata returns to the Acropolis.
The debate or agon is continued between the Chorus of Old Men and the Chorus of Old Women until Lysistrata returns to the stage with some news—her comrades are desperate for sex and they are beginning to desert on the silliest pretexts for example, one woman says she has to go home to air her fabrics by spreading them on the bed.
After rallying her comrades and restoring their discipline, Lysistrata again returns to the Acropolis to continue waiting for the men's surrender.
A man suddenly appears, desperate for sex. It is Kinesias, the husband of Myrrhine. Lysistrata instructs her to torture him and Myrrhine then informs Kinesias that she can't have sex with him until he stops the war. He promptly agrees to these terms and the young couple prepares for sex on the spot. So why don't you drop in on her sometime and loosen it up so there's more play down there? Yeah, the least colloquial and most G-rated phrase in that hunk o' text is "By Poseidon the Salty. We have to add one word of warning: none of this hilarity will come through if you get the wrong translation.
Back in the day some translators tried to do crazy things like translate the whole play into rhyming poetry didn't work out so welland they usually tried to clean up all the X-rated lingo. So do yourself a favor: find a translation that's informal and bristling with swear words. Not only will it be more fun to read, but it will be much more accurate to the original as well.
Using "sewing" or "spinning" or "weaving" as a metaphor for "togetherness" has a long and illustrious history. Shucks, even today we talk about "a tightly knit family" or " patch ing up a relationship" or "a well- woven story.
Sewing idioms are as old as sewing itself. Wait, what exactly does Aristophanes pull off? Oh, just a few extended metaphors that use the domestic arts to talk about—you got it—being so happy together.
Around the middle of the play the Magistrate challenges Lysistrata to explain how she thinks women can solve a complicated global problem like the Peloponnesian War. She replies by saying that it's easy: she and the other women will simply untangle it like a ball of yarn that has gotten knots in it:. Magistrate: "So how will you women be able to put a stop to such a complicated international mess, and sort it all out?
Show me. We hold it this way, and carefully wind out the strands on our spindles, now this way, now that way. That's how we'll wind up this war, if we're allowed: unsnarling it by sending embassies, now this way, now that way.
Then, a little while later Lysistrata goes into a long metaphor comparing the city to a fleece of wool; she explains the complex process that she needs go through of beating the wool getting the moochers outcarding it removing the bozos who tend to hog the government positionsand then spinning it and weaving it into a new metaphorical "cloak" of unity:. Imagine the polis as a fleece just shorn. First, put it in a bath and wash out all the sheep dung; spread it on a bed and beat out the riff-raff with a stick, and pluck out the thorns; as for those who clump and knot themselves together to snag government positions, card them out and pluck off their heads.
Next, card the wool into a sewing basket of unity and goodwill, mixing in everyone. The resident aliens and any other Coming Out - Lysistrara - Lysistrara (Vinyl who's your friend, and anyone who owes money to the people's treasury, mix them in there too. And oh yes, the cities that are colonies of this land: imagine them as flocks of your fleece, each one lying apart from the others.
So take all these flocks and bring them together here, joining them all and making one big bobbin. And from this weave a fine new cloak for the people. Sure, these analogies are a little yawn-inducing to today's audiences. We're just so used to sewing metaphors. But Lysistrata is also doing something super-clever here.
She's showing the Magistrate that women have the know-how to fix complex political situations; that a domestic existence gives them the reasoning skills necessary to duke it out in the public sphere. She's also cutting the Magistrate down a peg. Women's housebound duties were considered uninteresting and totally not manly back in Ancient Greece. By comparing governmental matters to household chores, Lysistrata is saying to the Magistrate: "Hey, this war-ending business is as easy as women's work.
So how come you can't end this war, huh? Are you too much of a sissy? The phallus is another symbol that's still kicking around today or, um, not kicking, because that would hurt. The Burj Khalifa. The Shanghai Tower. One World Trade Center. You know: symbols of mankind's strength and prowess, symbolized by erecting something that's very tall, very hard, and very impressive. These, of course, are phallic symbols in the abstract. Tall buildings, shooting rockets, and heavy artillery are often said to symbolize erect penises.
But what happens when—like in Lysistrata— erect penises themselves are symbols? Lysistrata is completely packed with phalluses. The men in this play just can't seem to stop talking about the painful swelling and aching they have been experiencing ever since the women went on their sex-strike. But why do they really even have to talk about it? After all, the stage directions make clear that the male characters are actually all walking around with giant, visible erections.
Sure, the Spartan Herald might make a lame attempt at passing this off as a "Spartan walking stick"but the visible truth is worth a thousand lying words. These phalluses represent male authority.
In Ancient Athens, men connect their power to their masculinity, as the Men's Chorus makes clear when they say that "every man with any balls must stand up to this threat! This is a slightly more nuanced way of saying "Boys rule and girls drool! Lysistrata examines what happens when women turn men's own symbol of power into a weapon against them.
The First Athenian Delegate certainly doesn't sound too proud of his manhood, does he, when he complains that, "My cock is bursting out of my skin and killing me! This play seems to suggest that traditional masculinity in excess—like ongoing wars or ongoing erections—is supremely painful.
We need both the warring impulse and the logic of peace. We need both sexual arousal and the ability to make sexual arousal stop. Lysistrata does not paint men as the Coming Out - Lysistrara - Lysistrara (Vinyl people feeling the er, pinch, of abject horniness, though. The women are super-frustrated as well.
They're just a hair more able to let political Coming Out - Lysistrara - Lysistrara (Vinyl come Album) of sexual ones. Cats and dogs. Oil and water. Capulets and Montagues. Some things just do not mix. In sex comedies like Lysistratathe two things that don't mix are male and female viewpoints.
The women want to give peace a chance and the men want to keep war keeping on. The men want sex and the women want… Album), they want sex too. But just not quite as badly as they want peace. Fly, fly, Nicodice, before Calyce and Critylla go up in flames, fanned all around by nasty winds and old men who mean death! Have you ever heard the expression "to fight fire with fire?
If someone punches you, you punch back. Well, the women of Greece are definitely not fighting fire with fire.
They're fighting fire with good old H2O. They're combating never-ending war with a peaceful protest. They're fighting men's traditionally "fiery passions" yup, that's intentional —fighting and gettin' it on—with women's traditional placid, cooling influence.
Compounding this symbol some super-sexual imagery. Men's sexual frustration is often described as "raging," "hot," "burning," "smoldering," and so on. And sure, women's passions are also referred to in these terms, but the adjective that comes up first and foremost in describing female arousal is—like water— wet.
What narrator? Lysistrata is a play and it doesn't have a narrator at all. Instead of hearing what characters do, we actually see them do it.
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