Phantom

[vhsmbdm]

I need someone's help. I've been attempting to find out what the general base line story of Faust is for a while, but all I seem to come up with is a long write up that goes through all five acts of the opera and I just get confused by the end.

I've gathered that it's about a guy, Faust, who sells his soul to the devil in return for greatness. But from there I'm confused on how it is resolved or isn't resolved.

Can someone who is familiar with the entire plot line give a general description and how the main female character plays her role. I can not get enough of Phantom's show this year, absolutely love it. I would just like to know what happens in the opera to cause the all white at the end of PR's show as well as the main female guard member who is covered in "scars and blood."

[PhantomFanT10]

Christopher Marlowe, correct?

Basically, Dr. Faust(us) sells his soul to the Devil for the knowledge of the world he craves so deeply. When the time comes for Faust to pay his debt to Satan, he pleads for his soul as the clock counts down his damnation. He is dragged off to #### in the end.

I could be wrong; I ended up having to read it for my Advanced Placement English class last year. I never knew that it might come in handy!

[incompleatangler]

Okay, you made me curious enough to finally look some things up. I'm not familiar enough with PR's show to line anything up with great accuracy, but here's what I found about Faust.

My thanks to my good friend, Wikipedia, I can offer the following (still long, but not quite opera libretto length) explanation.

Faust (Latin Faustus) is the protagonist of a popular German tale of a pact with the Devil, assumed to be based on the figure of the German magician and alchemist Dr. Johann Georg Faust (approximately 1480–1540). It has been used as the basis for many different fictional works, most notably by Christopher Marlowe, Johann Wolfgang von Goethe, Klaus Mann, Thomas Mann, Hector Berlioz, Oscar Wilde and Mikhail Bulgakov.

Spoiler warning: Plot and/or ending details follow. (it really says that right after the heading, "General Plot"... no kidding)

The story concerns the fate of a learned gentleman named Faust, who in his quest for forbidden or advanced knowledge of material things, summons the Devil (represented by Mephistopheles, often also referred to as Mephisto), who offers to serve him for a period of time, at the cost of his soul. In the fulfillment of Faust's increasingly frightening desires, Mephistopheles functions almost as a genie. However, at the end of the story, they quarrel over their bargain and Mephistopheles kills Faust.

Origins (I'll start paraphrasing here)

The story dates back at least to the late 16th century in Northern Germany, though there are theories that place it much earlier and say it may be French or Dutch. "The Historie of the Damnable Life, and Deserved Death of Doctor Iohn Faustus" It was this work that Christopher Marlowe used for his somewhat more ambitious play, "The Tragical History of Doctor Faustus" (c. 1600)

Widipedia also explains than no fewer than 12 major dramas and as many major operas have been written, retelling the essential plot of Faust. (You can find a pretty impressive list of Faustian manifestations that includ pop music, musicals, tv... it's a impressively long list). The definitive Faust, however, seems to be the one Johann Wolfgang von Goethe gave us.

This tragic play was published in two parts in the early 19th century (many years apart). Ironically, Goethe died the same year he finnished part two, and it was published posthumously.

[the following is quoted directly from Wikipedia]

Faust Part One is a complex story. It takes place in multiple settings, the first of which is heaven. Mephistopheles makes a bet with God. He says that he can deflect God's favorite human being (Faust), who is striving to learn everything that can be known, away from righteous pursuits. The next scene takes place in Faust's study where Faust, despairing at the vanity of scientific, humanitarian and religious learning, turns to magic for the showering of infinite knowledge. He suspects, however, that his attempts are failing. Frustrated, he ponders suicide, but rejects it as he hears the echo of nearby Easter celebrations begin. He goes for a walk with his assistant Wagner and is followed home by a stray poodle.

In Faust’s study, the poodle transforms into the devil. Faust makes a deal with the devil: the devil will do everything that Faust wants while he is here on earth. If during that time, Faust is so pleased with anything the devil gives him that he wants to stay in that moment forever, he will do the devil's bidding in ####.

After Faust has signed in blood, Faust has a few excursions and then runs on to Margarete (also referred to as Gretchen). He is attracted to her and with jewelry and help from a neighbor, the devil draws Gretchen into Faust's arms. Faust seduces Gretchen and they sleep together. Gretchen’s mother dies from a sleeping potion, administered by Gretchen to obtain privacy so that Faust may visit her. Gretchen discovers she is pregnant. Gretchen’s brother condemns Faust, challenges him and falls dead at the hands of Faust and the devil. Gretchen drowns her illegitimate child. Faust tries to save Gretchen from death by attempting to free her from prison, after she has been convicted of murdering her child. Finding that they cannot free her, Faust and the devil flee the dungeon but at that time, voices from heaven announce that Gretchen shall be saved.

Rich in classical allusion, in Faust Part Two, the romantic story of the first Faust is forgotten, and Faust wakes in a field of fairies to initiate a new cycle of adventures and purpose. (The piece consists of five acts - relatively isolated episodes - each representing a different theme).

Act I

The first sees Mephistopheles saving the imperial finances of German emperor Charles V — and so the German empire — by introducing the use of paper money. Amidst the ensuing celebrations, Faust enters the "realm of the mothers" — variously described as the depths of the psyche or the womb — in order to bring back the "ideal form" of beauty for the Emperor's delight. In this case, that ideal form is Helen of Troy. Faust falls in love with Helen.

Act II

An artificial person made by an alchemical process, the Homunculus, leads Faust and Mephistopheles to the "Classical Walpurgisnacht", where they encounter gods from Greek antiquity.

Act III

The third act describes Faust's relationship with Helen, with whom he has a son, Euphorion. His son falls to his death at the end of the act, whereupon Helen also disappears.

Act IV

In the fourth act, Faust returns to the emperor, who is at war with the Gegenkaiser. With the help of Mephistopheles' ordered ranks of Daemons they achieve victory.

Act V

Faust has nothing left but to tame nature itself. Upon disclosing his plans, Faust recognises the moment of sheer bliss which he would seek to prolong and drops dead. As a result, he loses his wager with Mephistopheles, who tries to claim his soul.

However, as Goethe expresses in the final scene, Mephistopheles' handling of Faust permitted the latter to strive for something essentially positive and thus his soul could be saved. "Whoever strives in ceaseless toil, Him we may grant redemption". Thus as Mephistopheles gloats, angels descend and retrieve the immortal part of Faust's soul, providing redemption and ascension to the higher realm.

[end direct quote]

Now I'm really curious. Is this idea of redemption present in Phantom's show? Can someone tell me just which opera PR would be referencing? (although I have a bachelor's degree in music, I've never studied opera, and I don't remember Faust coming up in music history... at least not one of the classes I actually attended.)

I hope this helps. It certainly helped me. And although it's a horribly long post, it is MUCH shorter than the info I sifted through to put this down on screen.

[Long Time Fan]

I too was confused after the Atlanta show, since I am very familiar with Gounod's opera Faust. This did not conform to the story line at all. However, it does conform to Goethe's Faust Parts I and II. Here is a short synopsis of the two parts. If you are only familiar with the opera you can't understand what happens at the end when Faust and Gretchen are reunited by the angels.

Synopsis:

An old scholar, Faust is dissatisfied and yearns to comprehend not just all knowledge, but all experience. In such a quest, Faust makes a bargain with a nihilistic spirit named Mephistopheles. The pact provides for the loss of Faust's soul in the event that Mephistopheles should provide him with any sensuous experience to his liking. Among the temptations offered by Mephistopheles is a young girl by the name of Margaret (Gretchen), whom Faust seduces and abandons, indirectly causing her death and that of the child they conceived together. In Part II, Faust continues his association with Mephistopheles and, among other adventures, has a love affair with Helen of Troy and fathers a son with her. Later, still with the aid of Mephistopheles, Faust reclaims lands from the sea which he intends to turn into a paradise on earth -- his legacy to humankind. Happy with his efforts and a vision of the future, Faust is caught in a moment of satisfaction which Mephistopheles claims as his victory. At the last moment, however, God's angels save Faust and bear his soul to heaven where he is reunited with Gretchen and appointed as teacher of the blessed.

[MikeBob]

Rapidly veering off topic....

I've only read Marlowe's play, but it's interesting to me the contrasts between that and Goethe's version of the story. The latter is much more complex in terms of plot, for a start, but it also portrays the pursuit of knowledge as a virtuous endeavor -- something Marlowe's play does not do. In Marlowe's version, Faust is more or less doomed from the beginning by his desire to know more than God has revealed in the Bible. Of course, the two were written in considerably different eras; the conflict between (what passed for) science and religion in Elizabethan England was much more pronounced than that in 18th/19th century Germany. Also, Marlowe's Faust doesn't have a Margerete/Gretchen, but he does have Mephistopholes summon Helen of Troy at one point (although she doesn't get any lines). Incidentally, Marlowe's play is the origin of the phrase "the face that launched a thousand ships." In the end, Faust is dragged into #### (it doesn't matter what four-letter word I use there!) and that's the end of him. Goethe's allusion to Job is interesting, as is his take on Faust's quasi-redemption.

This reminds me of the Sweeney Todd story in some ways. Not in terms of the actual story, but in terms of the differences between different versions of it. I'm very familiar with the brilliant Sondheim musical, and was a little surprised by an old film version of the Sweeney Todd legend wherein Todd kills out of greed and bloodlust, and nothing more, which is nothing like the Sweeney Todd I know, love, and fear.

But anyway. Yay Phantom.

[PhantomR]

reminds me of The Trans-Siberian Orchestra's "Beethovens Final Night"

~>conner

[incompleatangler]

Bump.

I'd still like to hear more about how Phantom communicates this story. I enjoy their show a lot. Having seen it only once live (before I read ANYTHING about the story), I'm curious about the parrallels.

Anyone?

P.S. Sorry about the ramblingly long post in the middle of the night. It IS full of info, though? heh... :devin: ^0^

[kusankusho]

Rapidly veering off topic....

I've only read Marlowe's play, but it's interesting to me the contrasts between that and Goethe's version of the story. The latter is much more complex in terms of plot, for a start, but it also portrays the pursuit of knowledge as a virtuous endeavor -- something Marlowe's play does not do. In Marlowe's version, Faust is more or less doomed from the beginning by his desire to know more than God has revealed in the Bible. Of course, the two were written in considerably different eras; the conflict between (what passed for) science and religion in Elizabethan England was much more pronounced than that in 18th/19th century Germany. Also, Marlowe's Faust doesn't have a Margerete/Gretchen, but he does have Mephistopholes summon Helen of Troy at one point (although she doesn't get any lines). Incidentally, Marlowe's play is the origin of the phrase "the face that launched a thousand ships." In the end, Faust is dragged into #### (it doesn't matter what four-letter word I use there!) and that's the end of him. Goethe's allusion to Job is interesting, as is his take on Faust's quasi-redemption.

Marlowe's Dr. Faustus was an extension of medieaval morality plays so it had an agenda of scaring folks with horrific consequences for not being "good" and wasn't the literary piece that Goethe wrote. As I remember the play it also took some shots at the Pope, written as it was in the ultra-Protestant, anti-Catholic England of Queen Elizabeth's era.

[bdkappasig]

may i ask why then are they playing "ressurrection symphony from mahler II" if faust gets taken to #### in the end? that baffles me.

[kusankusho]

may i ask why then are they playing "ressurrection symphony from mahler II" if faust gets taken to #### in the end? that baffles me.

Depends on whose version of Faust they are going with - as outlined in the "angler" post (Nice synopsis, BTW!)