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Brynne Fritjofson Art, History, and Memory in Global Contemporary Paris May Term Research Paper

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Brynne Fritjofson Art, History, and Memory in Global Contemporary Paris May Term Research Paper Brynne Fritjofson Art, History, and Memory in Global Contemporary Paris May Term Research Paper “To go to Paris without seeing the Opera is like someone who has been to Rome and not seen the Pope.” ​ ­Nicolai Karamizin ​ The bustling city of Paris is one of the most powerful strongholds for music, art, romance, and Parisian ​ ​ ​ ​ ​ ​ culture. It’s an endless artistic melting pot of ideas, expression, and most importantly, history. Paris’s past has ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ proven the arts are remarkably what have kept the thriving city in its glory all the way to the present. After France ​ ​ lost the Franco­Prussian war, there was a desperate need to recover France’s sense of high culture.1 In order to ​ ​ ​ prove herself in power and dignity, France needed to outdo and compete with surrounding European cities that were ​ ​ also thriving in the arts. The solution was clear: there must be a universal emblem of art that stands above those of ​ ​ ​ ​ surrounding cities. What better solution for Paris than building L’Opera Garnier? ​ ​ ​ Initially, I had been interested in L’Opera Garnier because of my huge interest in the arts. Dance is one of ​ ​ ​ ​ my passions, and researching such an exquisite place where ballet became a legend is more than I could dream of. ​ ​ ​ Louis XIV had originally founded the Academie Royale de Danse in 1661 and had moved to L’Opera Garnier in later years. When I knew the legendary ballet school and phenomenal company was housed there, it was a research ​ ​ ​ ​ opportunity that I couldn’t give up. And even more so, what really drew me to this monument was the mysterious ​ ​ ​ ​ legend of The Phantom of the Opera. I had grown up listening to the soundtrack and seeing the musical on ​ ​ ​ Broadway, and after my second trip to Paris in 2015, I was hooked on the myth and dramatic storyline. Part of me ​ ​ ​ ​ ​ ​ wanted to believe that although the story wasn’t fiction, somehow it was real. The first time that I stepped into the ​ ​ ​ ​ 1 Karthas, Ilyana. When Ballet Became French: Modern Ballet and the Cultural Politics of France, 1909­1958. ​ ​ ​ McGill­Queen's University Press., 2015. (pg. 69) Opera House, my eyes were filled with tears at the mere splendor of the beauty, knowing my childhood dreams and ​ ​ fantasies had finally come true. The life of the performers, socialites, and mystery came to life. Once I had entered ​ ​ ​ ​ ​ ​ this sanctuary of performing arts, I knew I needed to uncover as much as I could about it. ​ ​ ​ During the period of Haussmannization in the mid 1800’s, Baron Haussmann was rebuilding the streets of ​ ​ Paris and transforming it into the “new Rome.” His technique of creating grids to run the city left him with the ​ ​ space of putting monuments along the grids, a symbol of the city’s power, wealth and beauty. His monuments, ​ ​ ​ ​ ​ ​ ​ ​ ​ serving to terminate an important axis and sit alone fat spiders in an intersection of a web of avenues.2 Palace­like ​ in the sea of streets, the Opera Garnier is surrounded by the rue Halevy, rue Auber, rue Scribe, and rue Gluck, ​ ​ ​ ​ ​ ​ ​ ​ ​ with the most important street to the monument, avenue de l’Opera (See figure 1). The Opera House resides in the ​ ​ ​ ​ 9th arrondissement. Haussmann built the Opera as an island detached from the the surrounding streets for a multitude of reasons. In the old Opera House, security had been an issue because of the previous assassination ​ ​ ​ ​ attempt on Napoleon III. In 1858, the monarch was travelling from the Tuileries to the Opera and conspirator Felice ​ ​ ​ ​ Orsini attempted to hurl a bomb at him.3 Haussmann placed the Opera so that it was isolated enough from the ​ streets surrounding it but also created a straight path to the Tuileries (See figure 2). The Opera’s separation from the ​ ​ city streets was also a precaution for fire hazard. The mid 1800’s was also an era when dancers often died because of their costumes catching on fire from the gas flames of the footlights, and theatre fires were one of the most common 2 McGregor, James H. Paris From the Ground Up. Cambridge, MA: Belknap Press of Harvard University Press, ​ ​ ​ 2009. (Pg 242) 3 Higonnet, Patrice L. R. Paris: Capital of the World. Cambridge, MA: Belknap Press of Harvard University Press, ​ ​ ​ 2002. (Pg 257) and deadly urban calamities.4 Not to mention, the primary way to get to the Opera was by carriage, which ​ ​ ​ ​ encouraged the space around the sides of the building to be made in order for carriages to load their passengers.5 As Haussmann planned where the Opera House was to be built, an architect was being chosen to create the spectacle. A contest was held in order to choose who would design the building. In the first contest, no design ​ ​ ​ ​ ​ ​ would suffice the glory of the Opera House fantasy. During the second contest, 35­year­old Charles Garnier ​ ​ ​ ​ ​ ​ ​ ​ received the contract to the building. This was the beginning of his honorable career. Before Garnier was chosen to ​ ​ ​ ​ be the Opera House architect, he had returned from his five year study program in Italy, his award for winning the ​ ​ ​ ​ Prix de Rome in 1848.6 His studies of Roman architecture definitely gave way to the creations that were soon to be. ​ ​ The construction of the Opera house started in 1861 and lasted for fourteen years. The 1870 Franco­Prussian war ​ ​ interrupted the construction of the building. There continued to be a multitude of political issues going on as the ​ ​ National Assembly moved to Versailles during during construction of the Opera House when the Commune uprising broke out after the German invasion of Paris.7 But later in 1873, the fire at the old opera on Rue le Peletier made ​ ​ ​ the construction go faster.8 In January of 1875, the 3rd Republic was officially established and in power. Yet ​ ​ ​ ​ ​ strangely enough, during January 5th of the same year, L’Opera Garnier was officially inaugurated by Field ​ ​ ​ ​ 4 James­Chakraborty, Kathleen. Architecture Since 1400. University of Minnesota Press, 2014. ​ ​ (pg 285) 5 James­Chakraborty, Kathleen. ​ (pg 285) 6 Bowers, Paige. Building the Big Chief Charles Garnier and the Paris of His Time. Master's thesis, Louisiana State ​ ​ ​ University, 2012. (pg. viii) 7 Pegard, Catherine. "History The Big Dates." 1875 Birth of the 3rd Republic. Accessed May 15, 2016. ​ http://en.chateauversailles.fr/history/the­significant­dates/most­important­dates/1875­birth­of­the­3rd­republic. 8 Dill, Marshall. Paris in Time. New York: G.P. Putnam's Sons, 1975. ​ ​ ​ (pg 239) Marshal de Mac­Mahon.9 Although a new form of government was in power, the building created a monument to ​ ​ ​ the Second Empire. This was the date that created an architectural legend. ​ ​ ​ Although Charles Garnier was young for an architect, his age had no reflection on his skill. L’Opera ​ ​ ​ ​ ​ ​ Garnier was intricately designed to function as a whole, even with unique pieces to the building. The Opera House ​ ​ ​ ​ was organized into specific sections (See figure 3). “Behind the scenes, the theater was a vast machine, as intricate ​ ​ ​ ​ ​ ​ ​ ​ as a weaver’s loom.”10 The structure was organized into a backstage, stage, auditorium, and the foyer and bar ​ ​ ​ ​ ​ ​ ​ area. It was designed to perfectly circulate the people throughout the building. The backstage contained many ​ ​ ​ ​ removeable screen and panels that were suspended from above. Beneath the stage, dozens of platforms were stored ​ ​ ​ ​ which could be raised or lowered. Hundreds of counterweights, cleats, ropes, and pulleys could pull the objects ​ ​ ​ ​ ​ ​ ​ ​ into place and secure them.11 Just in front of the backstage, the vast performance stage hid the work going on ​ ​ ​ behind the scenes. The vast stage could fit up to 450 artists onstage at once.12 The auditorium was then connected to ​ ​ ​ the stage, revealing 2,156 seats with a tiered, horseshoe­shaped auditorium.13 But to reach the auditorium, one has ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ to wander through the grand foyer of the opera house. The foyer was the center of gravity to the L’Opera Garnier, ​ ​ ​ ​ ​ where a buzzing of social activity was constant. Wealth and social status were flaunted and it was the primary ​ ​ 9 Hines, Tom. ​ 10 McGregor, James H. ​ (pg 243) 11 McGregor, James H. (page 243) 12 Hines, Tom. "Paris Opera." Paris Opera. Accessed May 13, 2016. ​ https://www.whitman.edu/theatre/theatretour/paris opera/opera.de.paris.htm. 13 Vallois, Thirza. Around and about Paris: From the Guillotine to the Bastille Opera: The 8th, 9th, 10th, 11th & ​ ​ 12th Arrondissements. London: Iliad Books, 1996. (pg 79­ 80) ​ location that the event was enjoyed.14 This was Charles Garnier’s intention when he first designed the building. ​ ​ One of the most intriguing aspects of the Opera House is the areas that the public has never seen. The myth of ​ ​ secret corridors and the lake under the house, made famous from Gaston Leroux’s Phantom of the Opera are ​ ​ ​ ​ actually present. There are winding corridors and tunnels that are hidden from the public eye. The lake on the other ​ ​ ​ ​ hand, is not similar at all to what Leroux projects. When Garnier was first planning the building of the Opera ​ ​ ​ ​ House, a significant amount of water was found that was making the ground swampy, therefore causing issues with the construction. A subterranean lake was found under the construction site which had to be pumped out in order to build, but some of the water remains under the Opera House. The lake provides water pressure in order to lift the screens and backdrops from backstage (See figure 4).15 What made L’Opera Garnier so large in the public eye was the social aspect of it.
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