The Characteristics Of Kathleen OConnell's Odile For Odette

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I've also wondered just what, exactly, Siegfried is guilty of. But I think that if he genuinely mistakes Odile for Odette, that still could be considered a moral lapse. Kathleen O'Connell makes that point in the passage quoted, but doesn't see it realized in stagings. For me, it is there, in the traditional staging, though perhaps requires the audience give some thought to what is happening. Siegfried should be able to make the distinction between the two figures, especially given the archetypal weight the ballet gives them. And he should not, say, behave like a ballet fan, who loses her/his head at the sight of 32 fouettes :wink:. I don't think it takes two different ballerinas dancing Odette/Odile to make this point. In fact, it should be at least somewhat hard to tell them apart--that's what makes it a kind of moral test. If the two women are no more similar than Swanilda and Coppelia than Siegfried is just a dolt like Franz. It could be done with two ballerinas, but it's subtler with one... But let's say Siegfried makes no real error because he has simply been enchanted by Rothbart Something like that happens in the Ring--Wagner's Siegfried betrays Brunhilde because of a magic potion. Yet Siegfried's error in Wagner still seems to bear a kind of moral/historical weight even if only Brunhilde really grasps it. The idea that an idle/unintended mistake can have serious not to say tragic consequences IS sometimes a serious theme in art. Somehow one is responsible

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