- La bohème is considered an example of verismo—realism. In what ways are the characters in La bohème realistic? Are some more so than others?
- La bohème is based on events in a set of short stories. How important is the order of the episodes? That is, which parts of the plot could be rearranged and still allow the drama to work?
- Consider the element of weather in La bohème. We see Christmas Eve, springtime—and, for that matter, a lot of nighttime and darkness. How does this aspect of physical environment affect the drama? What does it add to a production of the work?
- What are the symbolic and dramatic meanings of Mimì’s disease?
- How important is poverty to the strength of the drama? What would be different if Puccini and his librettists had created a similar plot about middle- or upper-class characters?
- Imagine a future for the characters in La bohème. Do they succeed in their artistic careers? Do they pursue other paths? Is their Bohemian lifestyle permanent, or a phase for which they later grow nostalgic?
- Some of Puccini’s operas are about distant, exotic characters, such as Cio-cio-san (Madama Butterfly, Japan) or Minnie (La fanciulla del West, California). His Bohemians, however, are much closer to his own identity. How does this affect his characterization? Do we identify more with the characters in La bohème than, say, Madama Butterfly, because Puccini himself did? For that matter, do we feel that we learn something personally about Puccini from these characters?
- Do any of the characters in La bohème qualify as antagonists? Consider that question from various perspectives: do the characters sense any antagonist? Does the audience?
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