In
recent weeks, a great row has exploded over an opera being performed at the Metropolitan
Opera House in New York. The play, The Death of Klinghoffer, loosely
portrays the events surrounding the 1985 Palestinian terrorist takeover the Achille Lauro in the Mediterranean. The event led to the execution of a disabled
American Jew who was subsequently dumped into the waters in his
wheelchair. The children of the late Mr.
Klinghoffer, and many others, are outraged while First Amendment advocates say
that it is an acceptable form of protected speech.
The
question with a situation like this opera, which I have not seen and my memory
of the actual event only cursory, is a little different for me than it might be
for others. In a country where we have
free speech the legality of such an opera is not in question. Of course, the makers of this opera and the
Met are certainly within their rights to put it on. The real question with things like this is
often, is it right to do it? When one
questions the correctness of doing something, and not the legality of it, such
arguments are often the target of general mocking as an example of provincial
values. There is also decency and
awareness that seems to be lacking.
I
should say that, from time to time, a society should be shocked and
outraged. It serves as a reboot to our
obligations to our fellow man and a renewed sensitivity toward how others
perceive things. When American artist
Robert Mapplethorpe produced an image of a crucifixion within a jar of urine,
it ignited a conversation that was ultimately, one could say, good for our society. Yet, advocates for such actions miss the point
when they bring up freedom, artistic or otherwise. Freedom is not some exercise of one’s id –
free of judgment and consequences. This
is what makes the opera’s advocates’ objection to the criticism a bit strange.
I
recall the fiasco of the Dixie Chicks and their criticism of the president of
the United States during the onset of the Iraqi War. Similar to the recent opera incident, Natalie
Maines flew off the handle at the president in a foreign country and bemoaned
those who fired back. The incident
effectively ended a great career of talented musicians. Once more, there is a disconnect between the
right to do something and its correctness.
The other point missed was the argument about the values that surround
our rights. With each of our rights is
an underlying principle of a humane society.
Because Ms. Maines chose to take a rather one-dimensional look to the
reaction of her pablum, she failed to understand the issue. What will become of this new manifestation of
the same problem?
At
the risk of being melodramatic, I think our society is in trouble because of
our unwillingness to stand up to certain things. Again, I’m not speaking to the legality of
the Met (who cancelled the televised broadcast of the opera for fear of it
coming across offensive) to put on such an opera but whether it is a good
idea. So much of the typical offenses
committed throughout a typical day are not a question of the law but one of
taste and decorum. This can range from
profane music being played loudly to questionable outfits worn by high school
students to a parent yelling and screaming at their child in public. None of these actions would get someone
arrested but it goes to our understanding of our situation and respect for
others.
As
for the opera, I get that art is designed by its very nature to be controversial
and thought-provoking. However,
offensive art is no different from offensive voices or actions in the political
arena. Mr. Klinghoffer’s children rail
against, in their opinion, the minimization of their father to a simple tool
for terrorists. Others, like lawyer Alan
Dershowitz and First Amendment expert Floyd Adams are horrified at the moral
equivalency drawn by the opera between the Palestinian diaspora and the
Holocaust. No matter the arguments,
there are some obvious issues with the production that should have led people
to ask some obvious questions. It is a
pity that never happened.