Saturday, June 25, 2016

SPRING AWAKENING: Teen Masturbation, BDSM, Sex and Rape\Incest

Broadway's Spring Awakening musical is based on Frank Wedekind's bawdy play, but the musical is more raunchy. The musical made what the play implied more explicit, which is revealing when one realizes that the main characters, Wendla Bergman and Melchior Gabor, were fourteen-years-old.

For example, in the play Hans Rilow masturbated to a picture of Venus of Palma Vecchio which he described as having “plump, youthful breasts”. And asked, “Maiden, maiden, why dost thou press they knees together?” But his autoeroticism was implied.

Venus of Palma Vecchio

In the musical, Hanschen masturbated to Antonio da Correggio's Io. The stage directions read “[...] Slowly and steadily, Hanschen begins to masturbate – building steam as the scene continues.” And on Broadway, Jonathan B. Wright, playing an early-teen, energetically simulated masturbating first with his right then lift hand.

Antonio da Correggio's Io

In the play, fourteen-year-old Wendla asked Melchior, “Would you like to beat me with it once? […] Please---please.” But when she didn't feel Melchior's switch she said, “Oh, Lord, I don't notice it in the least! […] Then strike me on my legs!” Finally, feeling the pleasure of the pain she exclaimed, “You're stroking me! You're stroking me!”
In the musical, additional stage directions were added. “She offers him her backside. He considers, then strikes her lightly.” But Wendla said, “I don't feel it.” Melchior replied, “Maybe not, with your dress on.” Consequently, the stage direction read “Wendla hikes her skirt, offering Melchior the prospect of her somewhat more exposed backside." And that's exactly what Wendla (Lea Michele) did at the Eugene O'Neill Theatre on 49th Street in Midtown Manhattan.

In the play, it was implied that Melchior raped Wendla when she pleaded, “Don't---don't, Melchior! […] Oh, Melchior!---Don't, don't---” But in the musical Wendla says, “”No […] Don't it...[...] Wait...[...] Now, there---now, that's...[..] Yes […]” After which the stage direction read “Melchior penetrates Wendla” to which she responds, “Melchior---oh...” On the stage, Melchior (Jonathan Groff) exposed Wendla's (Lea Michele) left fountain before he lowered his trousers, mooned the Broadway theater goers and simulated breaking Wendla's maidenhood up to climax.
Lea Michele and Jonathan Groff in Spring Awakening.
(Photo by Joan Marcus)

In the script's preface, Steven Sater admitted that shifts were made when he wrote the book “As others have noted, the two biggest shifts we made to the tale occur at the ends of Act One and Act Two---in the hayloft and then in the graveyard. In Wedenkind's script, Melchior “date-rapes” Wendla. We wanted to see him make love to her. More: we wanted to show how this [fourteen-year-old] young man […] first uncovers ineluctable sexual feelings; how he begins to own his sexual identity; how he helps [fourteen-year-old] Wendla awaken to hers.”
And just in case you're thinking that Sater updated the ages from Wedenkind's play, Sater shared that the characters were “adolescent”, Wendla was “a nineteenth-century [fourteen-year-old]” and Bronx native Lea Michele (Wendla) joined the company when she was fourteen.

While watching the Youtube clips of Spring Awakening, I normally skipped through the songs, but Melchior stopped me hot as he rubbed Wendla's fountains through “The Word of Your Body” and thankfully my frozen Samsung tablet forced me to listen to “The Dark I Know Well” where Martha and Ilse shared their stories of sexual abuse by their fathers.

You say all you want is just a kiss goodnight,
And then you hold me and you whisper,
"Child the Lord won't mind.
It's just you and me.
Child you're a beauty. "

I don't scream. Though I know it's wrong.
I just play along.
I lie there and breathe.
Lie there and breathe...

I wanna be strong-
I want the world to find out
That you're dreamin' on me,
Me and my "beauty"

Martha and Ilse sing “The Dark I Know Well”
The bawdy teen musical won a number of awards including the Tony for Best Musical and Best Direction of a Musical.

Spring Awakening 2007 Tony Awards and Nominations

Tuesday, June 21, 2016

WHAT MR. MATTERO DID: Sexually Harassed and Abused Nymphets?

In Priscilla Cummings' What Mr. Mattero Didthree seventh-graders, Jenna, Suzanne and Claire, informed their principal that Mr. Mattero, the music teacher, had molested them.

I was immediately suspicious of their accusations, because most victims of sexual abuse never report being harmed. They may mention it to a friend but rarely to their parents or to the authorities. In addition, according to Joan J. Johnson's Teen Prostitution, in most cases, sexually abused nymphets are victims of incest. In other words, nymphets are most commonly molested by their fathers or step-fathers, and in some cases their brothers, uncles or cousins are the abusers. 

That is exactly what happened in What Mr. Mattero Did. Phoebe, another middle schooler, confessed to Claire that she was sexually abused by her step-father. Phoebe confessed to Claire, because she thought that Claire was a victim of sexual abuse as well. 
"You're the only person I've told," Phoebe said. "'Cause you've been through it, Claire. So you know what it's like. It's one reason I wanted so bad to be your friend. Because, like you'd understand."
But Phoebe begged Claire not to report the abuse to her mother or to the authorities. 
"Please don't tell anyone, Clair. Please don't." Phoebe said.
Of course, all reports of sexual abuse should be aggressively investigated, but just like in Mr. Mattero's case, the accused should be considered innocent until proven guilty. 

In addition, students who falsely accuse teachers of sexual harassment or abuse should be disciplined (i.e., expelled). It's not enough for a falsely accused teacher to be allowed back into the classroom. 

Furthermore, teacher's should be able to send students to "Rubber Rooms". For example, the next time a student commands a teacher to suck her dick, which is something that occurs in schools in New York City, that student should be disciplined the same way that a teacher would be disciplined for telling a student to SMD. 

Saturday, June 4, 2016

Mary Louise O’Murphy: Teen "Girl Reclining" Nude

Fran├žois Boucher's Girl Reclining

Brian Boyd posted on Ada Online:
“Of the many ancestors along the wall, she pointed out her favorite, old Prince Vseslav Zemski (1699-1797), friend of Linnaeus and author of Flora Ladorica, who was portrayed in rich oil holding his barely pubescent bride and her blond doll in his satin lap.”
Per Boyd, the bride being referred to is Princess Sofia Temnosiniy. And per to Ada’s family tree, Princess Sofia Temnosiniy was approximately 14-years-old when she married 72-one-year-old Prince Zemski. 

And the Prince’s son, Peter Zemski, married Mary O’Reilly. Boyd wrote: 
“John Rea [NABOKV-L, 30 November 2004] suggests that Mary O’Reilly may also echo Mary Louise O’Murphy (or Marie-Louise or Louison Morfy or O’Morphy, 1737-1814), who became mistress to Louis XVI of France [...]. She is said both to have been [Giacomo] Casanova’s mistress first, or to have been noticed by him, and to have been at fifteen the model for [Fran├žois] Boucher’s famous painting, Girl Reclining [...].”
Casanova shared in Histoire de ma vie that upon seeing 13-year-old O’Murphy in the nude when he visited her sister's house, he found her so alluring that he commissioned a nude portrait of the nymphet. 

It’s not clear how King Louis XV discovered O’Murphy. One theory he that he saw the painting and requested to see the original. Another theory is that she was recruited by Madame de Pompadour - the king’s official chief mistress. King Louis XV impregnated O’Murphy, but she had a miscarriage at 15 but gave birth at 16 to the king’s illegitimate child.

King Louis XV                     Giacomo Casanova

Lastly, Prince Zemski liked tape recorders and: "[...] had one for every bed of his harem of schoolgirls" 

This may remind one of Lolita’s Humbert Humbert who said, “Idiot, triple idiot! I could have filmed her! I would have had her now with me, before my eyes, in the projection room of my pain and despair!”