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In 1832–1834 he completed the romantic opera Ryno, the errant knight, which had been left unfinished on the death of the young composer Eduard Brendler. In 1839 he wrote a series of articles on popular education, and in 1841 anonymously published Om Straff och straffanstalter, a work advocating prison reforms. Cronholm, Neander N. (1902). A History of Sweden from the Earliest Times to the Present Day. pp. 273–88.
In foreign affairs, Oscar I was a friend of the principle of nationality; in 1848 he supported Denmark against the Kingdom of Prussia in the First War of Schleswig by placing Swedish and Norwegian troops in cantonments in Funen and North Schleswig (1849–1850), and was the mediator of the Truce of Malmö (26 August 1848). He was also one of the guarantors of the integrity of Denmark (the London Protocol, 8 May 1852). [11]Libraries & Collections Navigation link in category Student Services. Press escape key to return to main menu In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831–1915), who was running a small nursery school in the colony. [2] Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when The King and I was written. [3] Mongkut with Chulalongkorn, dressed in naval uniforms
a b c d Barnes, Clive. " King and I, reminder of golden age", The New York Times, May 3, 1977, p. 50. Retrieved February 17, 2011. (subscription required) Josefine, Dronning". Norsk biografisk leksikon. Archived from the original on 23 October 2016 . Retrieved 1 September 2016. Oscar became Crown Prince in 1818 upon the death of his adoptive grandfather, and the accession of Charles John to the Swedish and Norwegian thrones. Research Environment Navigation link in category Research & Innovation. Press escape key to return to main menuGrossman, Nicholas (ed). " The King and I banned in Thailand", Chronicle of Thailand: Headline News Since 1946, Editions Didier Millet, (2010), p. 88 ISBN 981-4217-12-3 Professional & Support Services Navigation link in category About. Press escape key to return to main menu Marilyn Stasio, in Variety, termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures." [191] In USA Today, Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes." [192] The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's orientalism into "a modern critique of racism and sexism". [193] Other commentators, however, such as composer Mohammed Fairouz, argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written. [194] Benjamin Ivry opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art". [195] The first major revival to break away from the original staging and interpretation was an Australian production directed by Christopher Renshaw, starring Hayley Mills as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script [117] when reshaping the piece into what he called "an authentic Thai experience". [118] The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo). [72] The attraction between Anna and the King was made explicit. [119] Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land", [118] and all Asian roles were played by Asian actors. [117] He also asked choreographers Lar Lubovitch and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II. [118] According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace", [118] and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok. [117] For example, the stage was framed by columns of elephant figures, a large emerald Buddha loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant." [118]
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