Summary: Estrangement [Mikado]
MUSI 730 - Gerber - Assignment #1
- Williams, Carolyn. “Estrangement and Familiarity: The Mikado.” Chapter 9 (pp. 255-273) in Gilbert and Sullivan: Gender, Genre, Parody. Chicago: Northwestern University Press, 2008.
Whereas earlier Gilbert and Sullivan shows such as Iolanthe and Princess Ida exploit gender to represent cultural distinctions, The Mikado presents a different perspective on the gender debate, using cultural nuances to critique gender differences. From the operetta’s first performance in 1885, it was understood by the public that The Mikado was not an actual representation of Japan; however, over time, the show has been criticized for exploiting and appropriating Japanese culture. Yet, these critiques seem to be misinformed, upon a deeper examination of the show. According to Williams, The Mikado is not a direct representation of Japanese culture; in fact, it is a critique and parody of English culture. Similar to the parody of aestheticism in Patience, The Mikado sought to parody the English obsession with Japanese culture that was prevalent at the time. An epitome of the English fascination with Japanese culture, in 1885, The Japanese Village in Knightsbridge served as a representation of Japanese life, and consisted of an actual village of people inside an exhibition hall. This display served as a portrayal of Japanese life that could be viewed and experienced by the British populace, further feeding the English fixation with all things Japanese. Gilbert and Sullivan exploited this English obsession in The Mikado; an obvious allusion to this occurs in the operetta when the Mikado requests Nanki-Poo’s address, Ko-Ko answers, “Knightsbridge.” Such parody provides not only a social critique of British crazes, but a critique of gender norms, as well.
Sources.
Williams incorporates a variety of sources in her examination of The Mikado, including primary sources such as paintings of The Japanese Village in Knightsbridge and diagrams of the exhibition at Knightsbridge. Additionally, the author includes secondary sources referring to the operetta, including a review of the show in Harper’s New Monthly Magazine that was published at the time.