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La prova (2008)

di Eleanor Catton

Altri autori: Vedi la sezione altri autori.

UtentiRecensioniPopolaritàMedia votiCitazioni
7134931,644 (3.55)278
All the world's a stage--and nowhere is that more true than at an all-girls high school, particularly one where a scandal has just erupted. A teacher has had an affair with his underage student, and though her friends pretend to be dismayed, they are secretly curious and jealous. They obsessively examine the details of the affair under the watchful eye of their stern and enigmatic saxophone teacher, whose focus may not be as strictly on their upcoming recital as she implies. When the local drama school turns the story of the scandal into their year-end show, the real world and the world of the theater are forced to meet. With both performances--the musicians' and the acting students'--approaching, the boundaries between dramas real and staged, private and public, begin to dissolve. THE REHEARSAL is a tender portrait of teenage yearning and adult regret, an exhilarating, darkly funny, provocative novel about the complications of human desire.… (altro)
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    beyondthefourthwall: Note: I acknowledge that a LibraryThing reviewer who read Choi's book before I did has also pointed out the similarity here.
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» Vedi le 278 citazioni

Immediately tense and sort of sinister, in an immersive and surface calm sort of way. Fantastic writing and a very compelling story that could so easily be trite or melodramatic based on themes; or overwritten in an unusual structure that instead drives the story-telling. I enjoyed this more than the Luminaries in that I thought it was more, mmm, comfortable with its own structure. ( )
  Kiramke | Oct 18, 2023 |
I didn't like any of the characters,and the story line didn't really grip me. However, there were many intriguing aspects of the book that I really enjoyed. The blurred lines between the parallel story lines, the many and multiple meanings of the title. I am glad that I read The Luminaries first, because I probably would not have read this author further if The Rehearsal was the only book I had read. ( )
  zizabeph | May 7, 2023 |
I can see why this wouldn't be the book for everyone, but it was definitely the book for me. Really beautiful and interesting writing, and I enjoy dwelling in the realm of precocious adolescent girls. Took me a few chapters to get into it, but I was hooked once I arrived. ( )
  HeatherMoss | May 6, 2023 |
The writing was beautiful, but the story was too convoluted for my liking. I found it hard to get and stay engaged. ( )
  RedSonja76 | Jun 26, 2021 |
Eleanor Catton is a witch. I say this out of great respect, as I was taught to do by my Fake Auntie Barbara, who is also a witch. I know that Catton is a witch because:

i) I do not care about sexuality in fiction. It's been done to death (primarily, I suspect, because it lets writers, who like to think they're pure as the driven snow, feel like victims. Most writers, of course, are wealthy beyond the wildest dreams of the rest of the human population and got that way because of a wide range of historical injustices). It lets writers think they have something interesting to say about The Human Condition when they have nothing to say about actual human lives.

ii) I don't much care about coming of age novels, because most teenagers are dull, repetitive, irritating and more or less subhuman. The ones that aren't don't act like teenagers, and coming of age novels involving them are thus weird and not really coming of age novels.

iii) I do not believe the whole world's a stage.

iv) With few exceptions, I don't like jazz.

So Catton has written a coming of age novel, which is primarily about sexuality and The Theater, and focuses on the symbolism of jazz saxophones. You'll note that, despite all this, I really liked this book.

But there is more evidence still. There are books, good books, which are unreadable for the first x chapters. Consider Catch 22, which I at least found boring and baffling for the first 100 pages... and then fell for, hard, as hard as a teenage saxophonist. Or Death in Venice, which did nothing for me for about the first third, but so much for me in the last two thirds that I've gone on to read Dr Faustus *twice*. And I'm not at all masochistic. Mann just does it.

The Rehearsal is an outlier even on this scale, though. For the first 200--200!--pages, I was mostly put off. I had no desire to keep reading. The two narratives seemed to have nothing to do with each other; the stylistic fireworks grew tired quickly (about half of the book takes place somewhere between reality and a saxophone teacher's perception of that reality, which is symbolized by characters being lit as if on stage); points i) through iv) had been firmly established. I figured I'd finish it, because it was shortish and the Luminaries is apparently the greatest shit ever. But I was just as likely to play video games as pick the book up.

And then the two narratives came together and I became a lunatic obsessive about finishing the book. My wife typically asks how a book was once I'm done, and I say things like "It was good, except for x, y and z, and I don't think the author put enough thought into a, and I don't know. I liked it okay." That's the books I really like. And she says, "Are you going to read [author's other book]?" "Maybe. Not right now."

But with The Rehearsal, the conversation went like this:

"How was it?"
"Great."
"Huh. Are you going to read the Luminaries?"
"Yes. You should read this. It's really great."

Enough beating my chest. Why is it so good? Well, Catton takes those tired topics and, implausibly, makes something new from them by looking at how adults perceive teenage coming of age sexuality, how they/we exploit it, distort it, and impose our own codes and experiences on the young.

She writes about being a teenage boy more touchingly than any ex-teenage boy (for them, apparently, life was mostly about The Penis. For me, as for Catton's young man, life was about substantially more important things, as well as learning to cope with aforementioned Penis).

She writes with awareness of the constructedness of her own fiction (i.e., the book is a stage), but without any suggestion that the constructedness of it makes it less valid. It's almost as if the constructedness is something to enjoy, because it makes it possible to tell truths about the non-fictional world (in the case of this book: that growing up is akin to rehearsing for the outside world, i.e., it is not the case that all the world's a stage at all, it's far more terrible than that, and you should revel in the moments when you can act out fictions).

And she writes about homosexuality, without Writing About Homosexuality. It's just that between one and three of her characters would rather make out with someone of their own gender. If that's an issue for you, that's on you. The book does not care about your stupid issues, though it does care very much about the way the world treats those one to three characters (i.e., shabbily). I grant you, that sounds weird. Almost as if it's hard to explain using reason.

Almost as if the author is a witch. ( )
3 vota stillatim | Oct 23, 2020 |
Eleanor Catton's masterstroke in this remarkable first novel is to immerse herself in the psychological hall of mirrors that is the teenage mind, but to apply an anthropological precision to what she finds there.
 
Eleanor Catton’s confident debut, an ambitious riff around 'what is real’, shows we are all performing, all our lives, to some degree.
 
The Rehearsal is a significant debut novel from an exciting young writer. Eleanor Catton is a new talent who has arrived fully formed, with an accomplished, confident and mature voice. This is a startling novel, striking and strange and brave....
 
Catton's writing is extraordinary in both its psychological acuity and its metaphorical grace. She switches fluidly from the morass of anxieties, cruelties, and joys of teenage girlhood to the depths of art and performance (and articulates the layered connections between those two subjects).
 
This astonishing debut novel from young New Zealander Eleanor Catton is a cause for surprise and celebration: smart, playful and self-possessed, it has the glitter and mystery of the true literary original.
 

» Aggiungi altri autori

Nome dell'autoreRuoloTipo di autoreOpera?Stato
Eleanor Cattonautore primariotutte le edizionicalcolato
Abrams, ErikaTraduttoreautore secondarioalcune edizioniconfermato
Bakke, Kyrre HaugenTraduttoreautore secondarioalcune edizioniconfermato
Essen, Rob vanTraduttoreautore secondarioalcune edizioniconfermato
Nilsson, JohanTraduttoreautore secondarioalcune edizioniconfermato
Santi, FlavioTraduttoreautore secondarioalcune edizioniconfermato
Schaden, BarbaraTraduttoreautore secondarioalcune edizioniconfermato

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Wikipedia in inglese (2)

All the world's a stage--and nowhere is that more true than at an all-girls high school, particularly one where a scandal has just erupted. A teacher has had an affair with his underage student, and though her friends pretend to be dismayed, they are secretly curious and jealous. They obsessively examine the details of the affair under the watchful eye of their stern and enigmatic saxophone teacher, whose focus may not be as strictly on their upcoming recital as she implies. When the local drama school turns the story of the scandal into their year-end show, the real world and the world of the theater are forced to meet. With both performances--the musicians' and the acting students'--approaching, the boundaries between dramas real and staged, private and public, begin to dissolve. THE REHEARSAL is a tender portrait of teenage yearning and adult regret, an exhilarating, darkly funny, provocative novel about the complications of human desire.

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