It is almost a quarter of a century ago, that the lake entstiegene Colin Firth took in the BBC’s adaptation of Jane Austen’s “Pride and prejudice” with his breast-adhesive see-through shirt Elizabeth Bennet the breath, but also millions of spectators. This scene, which had a “Darcy mania” and Firth to Sexidol be unleashed, was invented by Andrew Davies, the savvy writer to literary classics.
How much things by means of female empowerment, especially in light of the #MeToo-the debate has changed, and it revealed to Davies in a newspaper interview in which he called it is now “mandatory” to write strong female roles. Sometimes he beg for a change to a tab, a meet-cute girl character, but “the television game networks are led by strong women who want to see themselves reflected”. Like on the big screen, on the basis of a Metropolitan feminist dyed films to watch, from Steve McQueen’s “Deadly widows”, and Björn Runge’s “the wife of The Nobel laureate” about Wash West morelands “Colette” with Keira Knightley in the role of the professional and erotic emancipating writer to two new history dramas, Josie Rourke’s “Mary Stuart, Queen of Scotland” and “The Favourite” by the Greek Director Yorgos Lanthimos. The power struggle between two influential women in the court of Queen Anna’s is interpreted as a lesbian triangle drama.
The London Covent-Garden-Opera is also anxious to take the #MeToo movement and to shed light on the role of women to the Canon of Opera literature, among other things, the commitment of Directors and female creative forces fresh perspectives wrest. Commissioned works are another a counter-weight to “difficult relationship” of the genre on women and Gender, as formulated in the house. In this sense, a discussion will be held soon for the young members of the circle of friends of Covent Garden: “Hates the Opera for women?” This will, among other things, to the debate of whether the Opera’s hero would be “victim of misogyny”.