an addiction to hands and feet
dance anthem of the 80s | regina spektor
"Anna smiled, and her smile passed over to him. She lapsed into thought, and he too would turn serious. Some supernatural force drew Kitty’s eyes to Anna’s face. She was enchanting in her simple black dress, enchanting were her full arms with the bracelets on them, enchanting her firm neck with its string of pearls, enchanting her curly hair in disarray, enchanting the graceful, light movements of her small feet and hands, enchanting that beautiful face in its animation; but there was something terrible and cruel in her enchantment." — Anna Karenina, Leo Tolstoy (via violetsandvanilla)
(via all-delightedpeople)
#SOMETHING TERRIBLE AND CRUEL IN HER ENCHANTMENT #this woman is a force #(this woman is not...do i need to say it?) #anna karenina #best beloved #the kitty-anna friendship (and kitty's fierce crush) is one of my favorite perpetually-neglected pieces of it #oh kitty scherbatskaya you deserve more
villainesses ответил(a) на ваш пост: top 6 favourite shakespeare plays?
AYLIIIIIIIIIIIIIIIIIIII. we should talk about ayli feels sometime now that i’ve seen two really great (and really different!) productions.
omg, can we please? I realise it’s maybe less well-structured than Twelfth Night in the girls-in-pants competition, but it’s always had my heart. Number-one comedy, and it’s always been one of those rare birds where I love everyone—there’s no one I want to skip! Not even the fool!
(Touchstone is a strikingly bearable Fool, imo. Him bantering with Rosaline and Celia is charming because the girls are charming and especially so because they’re less laughing at him and more entranced with themselves for their own ability to keep up bantering with him, like, hey, look at us bein’ funny! And then later he gets a romantic plot of his own, rather than just wandering around everyone else like a magical useless comedic extra limb. I guess Jaques takes more of that aspect, but Jaques is just so goddamn weird that it’s really easy to make him hysterical. The “all the world’s a stage” is kind of interminable mostly because it’s almost too famous to perform now, and people get stuck in that. Hamletproblems.)
And that’s the opposite of my priorities, even! Looking at the actual people—I love the romantic leads, love Rosaline steamrolling everyone in the name of love and making the world jump through hoops to play along with a tableau she’s making up as she goes, love Orlando, the canonically dreadful poet, bless (that is THE SINGLE FUNNIEST THING TO ME IN ANY OF THE COMEDIES to me—reasons of metatext, obvs, but also: Why should this a desert be? For it is unpeopled? NO.), and OH MAN I LOVE CELIA SO MUCH, AND I LOVE CELIA/OLIVER WAY MORE THAN MAKES SENSE given that they are the weird secondary couple with no text space and no logistics to how they fall in love, but ugh I find them hysterical and they’re my favorites to watch take shape from production to production—and the two of them as absurd individuals! Oliver discovers redemption after being saved from a lion and Celia is basically a walking popcorn.gif for the entire play (And I’ll sleep), and I love that she has two seconds of fancying Orlando and then rather calmly succeeds to Rosalind because Rosalind matters to her more than anything else, and they, more than any of the romantic tomfoolery, even though it ends with the Ultimate Wedding, they are the heart and soul of the piece, the two of them and their sheer glee in each other. Runaway girls, being who they want to be in a forest that isn’t enchanted except with possibility.
Oh, and hugely affectionate feelings toward Phebe, and the Phebe/Silvius dynamic, if only because I’ve been that bitch. (And played her too, har har.)
I never loved nobody fully
Always one foot on the ground
And by protecting my heart truly
I got lost in the sounds
(Source: peterparkour, via roseofhighgarden)
Favorite contemporary playwright. Favorite—I have Issues with a lot of aggressively deconstructive modern plays, I’ve seen too many bad ones, I just don’t trust most of ‘em. Except THIS LADY. Eurydice is effortlessly gorgeous and happens to feature my favorite myth-retelling trick, aka: agency-swapping, where it becomes about the woman’s choice within the existing framework (obsessed with Orpheus and Eurydice on this level—Hades and Persephone too, a lot of the stories in myth-canon are stories I want to tell in this lens, HELLO HELEN); I think that’s a perfect play on page, and I would give a lot to see it live. Other than that specific play, Dead Man’s Cell Phone, for example, is less perfect, it can fall into the trap of being ostentatiously twee, but it feels like no little twee thing is there for no reason. Everything, even lines that seem to exist as quirk for quirk’s sake, gets payoff as part of a messy sum-of-its-parts very-oddly-shaped whole that despite being a little questionable in its structural integrity is somehow satisfying. (That play is damn ridiculous—and damn fun. There’s a fight scene! With a femme fatale! For the hell of it—in hell! About organ donation! THAT PLAY, MAN, HOW TO EVEN.) It’s that play that made a friend describe her to me as the Regina Spektor of playwrights, and I think that’s sound: women who make worlds out of twee things, but the worlds are complete and disjointed and richly, darkly weird.
Oh, and I fucking loved In the Next Room—STORIES ABOUT WANT, WRITTEN IN BODIES, COME ON. We’re not even going to dignify the movie that appears to have come out of that.
I need to read more. I need to read Passion Play. (Should I spend my day at the drama bookstore with Passion Play and then finish up the noir!AU at the nearest coffeeshop and see how many religious organizations try to tap me today? That could be a plan.)
SHE IS THE CENTRIFUGE
a Caprica Six mix
+ cover © emmaSUCCEXY; metric | THE APOCALYPSE SONG; st. vincent | YOUR BODY IS A MACHINE; the good natured | RADIOACTIVE; marina & the diamonds | BEDROOM HYMNS; florence & the machine | POLAR NETTLES; neko case | TIME OF THE ASSASSINS; charlotte gainsbourg | AVALANCHE; zola jesus | CALENDAR GIRL; stars | HALLELUJAH; thao & mirah
.zip + lyrics here
314, The Woman King
“There’s a trick to being a human. You have to think… only about yourself.”
(Source: nicoleanell)
#bsg spoilers #it just hit me that in all that time (all that narratively wasteful time) caprica is in the brig she has this #all that time in isolation and she's never alone she sacrifices herself because that's what she's best at—messiah problems #gets locked in a cell for a season #and she has nothing but herself #no weapons no master plan no secrets nothing to hide and nothing to create and nothing to destroy #just herself #in a cell #for damn near an entire season #subsequently treated as less than nothing by the narrative #but she has herself and that means she will survive (as she does in the long run) #and she has the face of human fallibility in her head #beloved and polished and there for escape and there to remind her of the choices she's made #she has no one but herself but she knows she isn't alone #she sees the face of her mission even in stasis and she can kiss it #sorry if these tags are incoherent it's just that i love her so much it makes me want to cry #bsg #best beloved #like you're the only one #morally? practically. #and of course her invisiblemakeoutsface is loads more dignified than his #he always looks like he's going to fall out of his chair (and often does); she somehow just looks rapturous #story of them #i love them #i love her #it hurts my heart that s4 exists because it puts a spoke in other people loving her #everyone hold still i'm coming back to fix your feels~x
let the less-loving one be me
ASK & SUBMIT & INTRO & LJ
queens and huntsmen, physicality stanning, theater feelings, hilarious myopia, nonstop verbosity, delusions of grandeur. fictional moral compass not found.
