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antoamilano · 6 years

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Jour 120 et 121 - Lundi 28 et Mardi 29 Janvier 2019

Lundi 28 Janvier

Andréa è quiiiiiiiiii !!!!

Andréa est arrivée en fin d’après midi à Milan. Comme avec Sarah, j’ai adoré lui faire visiter ma nouvelle ville et lui montrer une partie de ma vie ici. Elle est arrivée vers 18h et je l’ai emmenée voir le Duomo de nuit. Toujours aussi beau !

Mardi 29 Janvier

Ce matin, avec un grand soleil, je l’ai emmenée visiter l’école. Ensuite, nous sommes descendues voir le Duomo de jour. Je me suis achetée un nouvel objectif d’appareil photo et je me suis amusée avec donc je vous remet quelques photos de l’école et du Duomo :

Après, nous avons mangé au Parco Sempione en passant par le Castello Sforzesco. Comme on avait froid on s’est dit qu’on allait visité quelque chose on a donc visité le Teatro alla Scala. Au départ je devais l’emmener voir un ballet mais les places sont très prisées et je n’ai pas pu avoir de places, on a donc finalement visité le musée du teatro. Le teatro alla Scalla est un théâtre d’opéra italien de renommée mondiale. Il date de 1778 et de nombreux opéras ont été créés là-bas notamment ceux de Rossini ou Verdi. En faisant la visite du musée du teatro on a accès à plusieurs balcons situés en face de la scène d’où on peut admirer la beauté de la salle. La salle ne m’a pas paru si grande mais il y a quand même une capacité de 2030 places. Tout est rouge et doré, c’est magnifique ! Le lustre en particulier est incroyable, fait en cristal de Bohème avec pas moins de 365 ampoules, il est d’origine, a résisté aux nombreuses années (notamment les bombardements de 1943)... Magistral ! Le musée lui n’est pas très grand et un peu décevant mais contient quand même de belles pièces comme des instruments de musique (clavecin du XIXème par exemple), de vieilles pièces de monnaies, des boites de tabac, boites de lunettes et lunettes, des masques et diadèmes utilisés pour les opéras, des partitions, des vieux carnets de notes,... Un beau voyage dans le temps quand même !

Piano Steinway & Sons de 1883.

Après le musée, nous sommes passées voir la chiesa di San Maurizio al Monastero Maggiore, une église que j’avais déjà visité et que j’avais adoré, je vous renvoie au 19 octobre. J’ai ensuite emmené Andréa aux Navigli où nous avons pris un café. Nous avons ensuite rejoint Colleen, Djuna et Edvard pour aller manger... un aperitivo évidemment !!! Andréa ne PEUT pas repartir sans manger un aperitivo. Pour moi c’est le meilleur moyen de découvrir la nourriture italienne sans faire 12 restos différent, il y a beaucoup de choix dans les buffets, des pâtes sous toutes les formes, du fromage sous toutes ses formes, des lasagnes, du risotto, de la pizza, du tiramisù... Djuna nous a emmené dans un restaurant près du Duomo avec un bien joli buffet ! Pour la première fois ici j’ai goûté du vrai risotto... un délice !!!! (et bon je ne reviendrais pas sur mon amour du tiramisù...)

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letterdrill08-blog · 6 years

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Top face mask Secrets

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Copeau, in his attempts to "Naturalise" the actor[forty nine] chose to use mask to liberate them from their "abnormal awkwardness". Subsequently, Copeau's work with masks was taken on by his learners including Etienne Decroux and later on, by way of Jean Daste, Jacques Lecoq.[46] Lecoq, owning worked as motion director at Teatro Piccalo in Italy, was influenced because of the Commedia custom. Lecoq achieved Amleto Satori, a sculptor, they usually collaborated on reviving the methods of constructing common leather-based Commedia masks. Later, producing Copeau's "noble mask", Lecoq would talk to Satori to make him masques neutre (the neutral mask). For Lecoq, masks turned an essential training Software, the neutral mask becoming built to facilitate a point out of openness in the student-performers, shifting little by little on to character and expressive masks, And at last to "the smallest mask on earth" the clown's pink-nose. 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odom57randall-blog · 6 years

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The Definitive Guide to face mask

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ptdrumm · 6 years

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Quis Custodiet Ipsos Custodes?

Não é de hoje que cultivo o gosto por frases em latim. Meu pai gostava de citar, vez por outra, as célebres palavras de Catão, o Velho, ao terminar um discurso no Senado Romano: Delenda est Carthago. De fato, a dita frase é uma redução da sentença Ceterum autem censeo Carthaginem esse delendam, parte de uma campanha feroz contra Cartago, a cidade rival de Roma à época.

Gosto muito de uma que ouvi durante a cena final do filme Masque of the Red Death, de Roger Corman. A morte, conduzindo uma menina por um campo repleto de cadáveres e corpos agonizantes, diz: Sic transit gloria mundi. A cena me impressionou e nunca mais esqueci da frase.

Gosto também de Castigat Ridendo Mores, de Jean de Santeul, presente em alguns pedimentos e frisas de teatros. Gosto de Mens sana in corpore sano, Crescit amor nummi, quantum ipsa pecunia crescit e Panem et circenses, estas de Decimus Iunius Iuvenalis, o poeta satírico Juvenal. E gosto ainda, e não menos que de outras, da famosa —e sempre atual— Corruptissima re publica plurimæ leges, do senador e historiador Publius Cornelius Tacitus.

❊ ❊ ❊

Recentemente, a rede Facebook, num processo tosco de expiação de pecados aflorados no episódio Cambridge Analytica, decidiu contratar duas empresas de fact-checking no Brasil. Serão as 'vigias da verdade', para 'ajudar' o cidadão-eleitor a não se deixar levar pelas notícias falsas neste ano eleitoral, carimbando-as convenientemente.

Ao fim e ao cabo, fica a pergunta: quem atestará a veracidade, a lisura, a honestidade do 'verdadeiro ou falso' determinado pelas fact-checkers?

Essa atitude do Facebook e, provavelmente, de outras redes que adotarão processos parecidos, me lembra novamente o poeta Juvenal e mais uma de suas famosas frases: Quis custodiet ipsos custodes?, que pode ser traduzida em Quem vigiará nossos vigias?

#facebook #Cambridge Analytica #fact-checking #tacitus #juvenal

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sguardimora · 8 months

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𝗜 𝗖𝗢𝗥𝗣𝗜 𝗘 𝗟𝗘 𝗩𝗢𝗖𝗜 𝗗𝗘𝗟𝗟𝗔 𝗗𝗔𝗡𝗭𝗔 - 𝘴𝘦𝘤𝘰𝘯𝘥𝘢 𝘦𝘥𝘪𝘻𝘪𝘰𝘯𝘦

Corso di alta formazione per autori e autrici della scrittura corporea e delle performing arts

Lo studio della creazione coreografica autoriale si realizzerà soprattutto in percorsi curati e seguiti da maestri della scena performativa e coreutica contemporanea quali 𝗔𝗹𝗲𝘀𝘀𝗮𝗻𝗱𝗿𝗼 𝗦𝗰𝗶𝗮𝗿𝗿𝗼𝗻𝗶, 𝗗𝗲𝘄𝗲𝘆 𝗗𝗲𝗹𝗹 / 𝗧𝗲𝗼𝗱𝗼𝗿𝗮 𝗖𝗮𝘀𝘁𝗲𝗹𝗹𝘂𝗰𝗰𝗶, 𝗔𝗴𝗮𝘁𝗮 𝗖𝗮𝘀𝘁𝗲𝗹𝗹𝘂𝗰𝗰𝗶, 𝗩𝗶𝘁𝗼 𝗠𝗮𝘁𝗲𝗿𝗮, 𝗗𝗲𝗺𝗲𝘁𝗿𝗶𝗼 𝗖𝗮𝘀𝘁𝗲𝗹𝗹𝘂𝗰𝗰𝗶, 𝗖𝗼𝗹𝗹𝗲𝘁𝘁𝗶𝘃𝗢 𝗖𝗶𝗻𝗲𝘁𝗶𝗰𝗢 / 𝗙𝗿𝗮𝗻𝗰𝗲𝘀𝗰𝗮 𝗣𝗲𝗻𝗻𝗶𝗻𝗶, 𝗗𝗮𝗻𝗶𝗲𝗹𝗲 𝗡𝗶𝗻𝗮𝗿𝗲𝗹𝗹𝗼 e altri studiosi, studiose e docenti del linguaggio contemporaneo.

Hai tempo 𝗳𝗶𝗻𝗼 𝗮𝗹 𝟮𝟱 𝗺𝗮𝗿𝘇𝗼 per inviare la tua candidatura.

Per partecipare è necessario inviare una mail all’indirizzo 𝗳𝗼𝗿𝗺𝗮𝘇𝗶𝗼𝗻𝗲@𝗰𝗿𝗼𝗻𝗼𝗽𝗶𝗼𝘀.𝗶𝘁 contenente il modulo d’iscrizione scaricabile al sito www.cronopiosformazione.it e tutti i documenti richiesti.

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𝗖𝗼𝗿𝘀𝗼 𝗳𝗶𝗻𝗮𝗻𝘇𝗶𝗮𝘁𝗼 𝗰𝗼𝗻 𝗿𝗶𝘀𝗼𝗿𝘀𝗲 𝗱𝗲𝗹 𝗣𝗿𝗼𝗴𝗿𝗮𝗺𝗺𝗮 𝗿𝗲𝗴𝗶𝗼𝗻𝗮𝗹𝗲 𝗙𝗼𝗻𝗱𝗼 𝘀𝗼𝗰𝗶𝗮𝗹𝗲 𝗲𝘂𝗿𝗼𝗽𝗲𝗼 𝗣𝗹𝘂𝘀 𝟮𝟬𝟮𝟭-𝟮𝟬𝟮𝟳 (𝘖𝘱𝘦𝘳𝘢𝘻𝘪𝘰𝘯𝘦 𝘙𝘪𝘧. 𝘗𝘈 2023-20195/𝘙𝘌𝘙, 𝘢𝘱𝘱𝘳𝘰𝘷𝘢𝘵𝘢 𝘤𝘰𝘯 𝘥𝘦𝘭𝘪𝘣𝘦𝘳𝘢 𝘥𝘪 𝘎𝘪𝘶𝘯𝘵𝘢 𝘙𝘦𝘨𝘪𝘰𝘯𝘢𝘭𝘦 𝘯. 2096 𝘥𝘦𝘭 04/12/2023 𝘦 𝘤𝘰𝘧𝘪𝘯𝘢𝘯𝘻𝘪𝘢𝘵𝘢 𝘤𝘰𝘯 𝘳𝘪𝘴𝘰𝘳𝘴𝘦 𝘥𝘦𝘭 𝘍𝘚𝘌+ 2021-2027 𝘦 𝘥𝘦𝘭𝘭𝘢 𝘙𝘦𝘨𝘪𝘰𝘯𝘦 𝘌𝘮𝘪𝘭𝘪𝘢-𝘙𝘰𝘮𝘢𝘨𝘯𝘢)

Soggetti attuatori:

Cronopios Eventi, L'arboreto - Teatro Dimora di Mondaino, Cantieri Danza, Corpoceleste/Alessandro Sciarroni, CodedUomo Choreography and Research/ Daniele Ninarello, CollettivO CineticO/ Francesca Pennini, Dewey Dell/Teodora Castellucci, Agata Castellucci, Vito Matera, Demetrio Castellucci

Partner promotori:

ATER Fondazione, ERT - Emilia Romagna Teatro Fondazione, Santarcangelo Festival dei Teatri, Associazione Culturale Festival Danza Urbana Bologna, Ravenna Teatro Soc. Coop, Fondazione Teatro Comunale di Ferrara, La Corte Ospitale - Teatro Herberia, Associazione Culturale masque teatro APS, Gender Bender International Festival / Cassero Lgbtqia+ Center, Attitudes spazio alle arti APS, ALCHEMICO TRE APS, Teatri di Vita

#danzacontemporanea #residenza creativa #i corpi e le voci della danza #formazione #performing arts

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overthedoors · 7 years

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Intorno all’esperienza. Al Festival Crisalide di Forlì una giornata con Frie Leysen e Catia Gatelli

Pubblicato il 24 agosto 201722 agosto 2017 da Sonia Caporossi Frie Leysen – Künstlerische Leiterin Foreign Affairs 2012 A cura della REDAZIONE La ventiquattresima edizione del Festival diretto da Masque teatro propone, presso il Puntodonna di Forlì, un articolato dialogo con la direttrice artistica belga Frie Leysen (vincitrice nel 2014 del più importante riconoscimento europeo per la cultura, il…

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leandrodefreitas · 4 years

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☑️subscribe ❗️ • • ☑️Follow and share‼️ • • « Qui masque ses fautes se voit, en fin de compte, démasqué par sa conscience » ✨ ✨ 📚WilliamShakespeare . . • • • • • #shakespeare #williamshakespeare #shakespearequotes #stratforduponavon #picoftheday #drama #instagram #actors #books #teatro #photooftheday #literature #actress #quotes #macbeth #acting #instagood #poetry #theater #italy #travel #verona #london #photography #actor #hamlet #romeoandjuliet #art #love #theatre (à New York, New York) https://www.instagram.com/p/CElTNPHAL67/?igshid=sojt4gtoxy1i

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persinsala · 5 years

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Macbetto o la chimica della materia

Al Teatro Rasi di Ravenna va in scena la rilettura, firmata da Roberto Magnani, del Macbetto di Testori. Un testo e uno spettacolo che lasciano il segno. (more…)

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#Ambleto #Charles Bukowski #Consuelo Battiston #Eleonora Sedioli #fascismo #Giovanni Testori #Masque Teatro #Menoventi #Recensione Macbeth #Roberto Magnani #Simone Marzocchi #Teatro delle Albe #Trilogia degli Scarrozzanti

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sonyclasica · 5 years

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SINFONIEORCHESTER BASEL & IVOR BOLTON

THE SECRET FAURÉ II

El álbum The Secret Fauré II profundiza en la obra del gran compositor francés, después del gran éxito que obtuvo el primer disco publicado en 2018, también grabado por la prestigiosa Orquesta Sinfónica de Basilea, dirigida por Ivor Bolton. En esta ocasión se incluyen obras orquestales y de conciertos junto a piezas para piano/violín/cello y orquesta. Hoy 17 de mayo a la venta.

El disco descubre aspectos desconocidos de la música de Fauré ya que en las grabaciones se han aplicado las técnicas de la musicología moderna, basándose en la nueva edición crítica de estas composiciones publicada por Bärenreiter Verlag.

La grabación comienza con una breve y melodiosa pieza, la famosa “Berceuse” originalmente compuesta para violín y piano, que se presentó por primera vez en febrero de 1880 con el propio Fauré como pianista. Aquí aparece en su versión orquestal, ejecutada por primera vez en abril de ese mismo año.

El “Romance”, originalmente escrito para violín y piano y ejecutado por primera vez en 1883, también fue orquestado por el mismo Fauré pero nunca se publicó. Una nueva orquestación fue preparada por Philippe Gaubert.

La comedia musical “Masques et Bergamasques”, presentada en Monte Carlo en 1919, está parcialmente compuesta por piezas ya existentes y le proporcionó al compositor material para una animada suite orquestal. La famosa “Pavane” de Fauré es muy popular especialmente en sus numerosos arreglos para diferentes instrumentos. Sin embargo, esta grabación presenta su versión original para orquesta.

El Allegro de “Sinfonía en Fa” fue conocido durante mucho tiempo solo en su transcripción para piano a cuatro manos. Una versión orquestal se escuchó en 1874, cuando se realizó como una sinfonía. Pero Fauré no incluyó esta versión en su lista de trabajo. En este álbum, la Sinfónica de Basilea presenta la primera grabación del Allego en versión orquestal, que ha sido recientemente publicada por primera vez por Bärenreiter.

La Orquesta Sinfónica de Basilea es una de las más antiguas e innovadoras de Suiza. Con fuertes raíces en el noroeste del país, tiene una impresionante reputación nacional e internacional. En su propia serie de conciertos, en el Teatro de Basilea y en gira por Suiza y en el extranjero, nunca deja de demostrar su calidad de sonido refinada y sofisticada. El británico Ivor Bolton es su director principal desde la temporada 2016/17.

Bolton es director de la Sinfónica de Basilea de la Orquesta del Festival de Dresde y de la Orquesta Mozarteum de Salzsburgo. En el Reino Unido, ha sido director musical de English Touring Opera, Glyndebourne Touring Opera y director de la Scottish Chamber Orchestra. Disfruta de una estrecha relación con Bayerische Staatsoper donde, desde 1994, ha dirigido una amplia gama de nuevas producciones, entre las que destacan Monteverdi, Handel y Mozart. Ha sido galardonado con el prestigioso Bayerische Theaterpreis por su excelente trabajo en Munich.

Ha sido invitado habitual en el Maggio Musicale Fiorentino, en la Ópera Nacional de París y otros compromisos operísticos en Covent Garden, ENO, Bolonia, Bruselas, Ámsterdam, Lisboa, Sydney, Berlín, Hamburgo y Ginebra. Entre sus actuaciones orquestales se incluyen Proms, Lincoln Center New York, Zürich Tonhalle-Orchester, Koninklijk Concertgebouworkest, Orchestre de Paris, Rotterdams Philharmonisch Orkest, Gürzenich Orchester Köln, Wiener Symphoniker y Freiburger Barockorchester.

CONTENIDO

Gabriel Fauré (1845-1924)

1. Berceuse for Violin and Orchestra op. 16

2. Romance for Violin and Orchestra op. 28

3. Ballade for Piano and Orchestra op. 19

4. Élégie for Cello and Orchestra op. 24 Masques et Bergamasques op. 112 (Orchestral Suite)

5.Ouverture

6.Menuet

7.Gavotte

8.Pastorale

9. Pavane op. 50

10. Allegro from Symphonie en Fa (or Suite d'orchestre) op. 20

SINFONIEORCHESTER BASEL:

https://www.facebook.com/sinfonieorchesterbasel

https://www.youtube.com/user/SinfonieBasel

IVOR BOLTON:

https://ivorbolton.com

https://www.facebook.com/pages/category/Musician-Band/Ivor-Bolton-126105177444459/

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theatrelareineblanche-blog · 5 years

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[LA RADIO AIME] 📻 (Ré)écoutez le conseil d'Armelle Héliot dans Le Masque et la Plume sur France Inter : www.franceinter.fr/emissions/le-masque-et-la-plume/le-masque-et-la-plume-14-avril-2019

🎤🎭 "c'est vraiment délicieux" "drôle" "et cela peut s'adresser très bien aux adolescents"

A propos de L'Équation de la Compagnie Teatro Di Fabio

Jusqu'au 28 avril

Réservations sur www.reineblanche.com/calendrier/theatre/l-equation

#théâtre #pièce #représentation #seulenscène #comédie #poésie #science #physique #chimie #biologie #mathématiques #médecine #astronomie #géographie #écologie #neuroscience #biotechnologies #univers #bigbang #cellule #théorie #relativité #matière #antimatière #rétractation #expansion #nature #primitivité #animalité #humanité #évolution #espèces #recherche #patrimoine #temporalité #imaginaire #imagination #éthique #déracinement #intégration #adaptation #parité #hermaphrodisme #genres #histoire #colonialisme #traite #exploitation #entropie #trounoir #M87 #powehi #optogénétique #clonage #OGM #ItaloCalvino #AlbertEinstein #FranzKafka #StephenHawking #MichelCassé #WolfgangPauli #Théophraste

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miguelmarias · 6 years

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LA CARA OCULTA DE MAX OPHÜLS

Tras un período de olvido, de eclipsamiento, el cine de Max Ophüls ha empezado a recobrar, poco a poco, el interés de los cinéfilos y los críticos, probablemente gracias a sus incursiones en el melodrama, forma de expresión que en los últimos tiempos, y paradójicamente por su muy discutible —y, en todo caso, simplificadora— consideración como un género, ha atraído una desusada atención facial, sobre todo en los países de cultura anglosajona.

Que la curiosidad por Ophüls no haya sido suscitada directamente por la reposición o vuelta a la circulación de sus películas, sino que sea "de rebote", y se manifieste a través de "filtros" genéricos, ha limitado el alcance de los estudios recientes a él dedicados, pese a que abunden los imprescindibles: Framework núm. 4, Movie núms. 29-30, Positif números 232-233, un par de capítulos de Personal Views de Robin Wood, el folleto editado por el British Film Institute, los artículos de Molly Haskell y Peter Harcourt en el libro colectivo Favorite Movies son tan sólo algunas muestras de lo mucho que se ha avanzado en los últimos años hacia la comprensión y consiguiente revalorización del cine de Max Ophüls. Desgraciadamente, como todo este material es poco conocido, sobre todo en ámbitos como el nuestro, continúan repitiéndose acerca de este autor las mismas cantinelas de siempre, que dan de él una imagen parcial, sesgada, superficial y confusa. Por ejemplo, se le sigue colgando, tan irresponsablemente como a Josef von Sternberg, la etiqueta de "barroco", que también se le aplica a Orson Welles abusivamente, sin molestarse en aclarar qué se entiende por "barroquismo" en el cine, a pesar de que este estilo representa cosas bien divergentes en la arquitectura y en la música —por citar dos artes que tienen que ver con Ophüls—, y sin plantearse siquiera si la definición propuesta por Jorge Luis Borges es pertinente o no en su caso. Como el rasgo estilístico más celebrado de Ophüls es el plano largo en movimiento —que algunos aún confunden con el plano-secuencia, sin distinguir entre los que han hecho Welles y Straub, Godard y Mizoguchi, Bertolucci y Rossellini, Wyler y Renoir, Preminger y Jancsó, Hitchcock y Rocha, Skolimowski y Dreyer, o casi cualquier primitivo, sea Louis Lumière o Edwin S. Porter—, se tiende a valorar exageradamente las películas en las que esta forma de captación tiene mayor relieve, y a juzgar la coherencia de este estilo en función de su grado de adecuación a la historia que narran, lo que conduciría a considerar como su obra maestra —o, al menos, paradigmática— La Ronde (1950), seguida de Madame de... (1953), y puede llevar a lamentar que no fuese Ophüls el encargado de dirigir Winchester’73 (1950), en lugar de Anthony Mann, o a menospreciar algunas de sus películas americanas como "poco características" —Caught y The Reckless Moment (Almas desnudas), ambas de 1949, por ejemplo— y otras como "ejercicios de estilo" —The Exile (La conquista de un reino, 1947) y Letter from an Unknown Woman (Carta de una desconocida, 1948)—, implícitamente "gratuitos".

La habitual y llamativa belleza de sus imágenes, y el peso que en ellas cobran el vestuario, las escaleras interiores, las flores o la nieve —y la lista de "objetos privilegiados" podía ser mucho más larga—, no ayudan a disipar la sensación, a menudo insinuada y en ocasiones expresada con tono reprobatorio, de que Ophüls es —como Vincente Minnelli, George Cukor y hasta hace poco Douglas Sirk, pero curiosamente no Luchino Visconti— "un esteta", palabreja que sus usuarios blanden como un anatema descalificador, impresión a la que debe atribuirse el ostracismo a que fue condenado el cine de Ophüls durante una larga temporada, y que en ocasiones es, por simple cambio de modas, la equívoca base de ciertas reconsideraciones precipitadas y superficiales.

La máscara

Cualquiera que haya visto el episodio así titulado Le Masque de Le Plaisir (1951) y lo haya asociado con la estructura visual de Lola Montes (Lola Montes, 1955) sabe, o por lo menos intuye, la importancia de esta figura en el cine de Max Ophüls; en consecuencia, no debiera dejarse arrastrar por la mera apariencia de las propias películas, ni reducirlas a la selección de imágenes que hace nuestra memoria, porque —aunque sean las que dejan más huella— no es lícito proceder a un montaje "mentar" de las mismas, cuyo resultado puede ser un "trailer" o una antología, pero no una síntesis de su obra. Parece, sin embargo, que los travellings arrastran a los espectadores, y que la fascinación muchas veces tiene efectos hipnóticos, por lo cual es fácil que quienes sólo conocen una parte —la más famosa, la más asequible— de la filmografía de Ophüls tengan de su "mundo" una visión que, sin ser falsa, toma la parte por el todo —y hasta la excepción por la regla—, es decir, que se hagan de su cine una idea caricaturesca, cuando no paródica, reforzada en ocasiones por un conocimiento "de leídas" o por haber tomado contacto con ella después de ver —en Demy, por ejemplo— el resultado de su influencia en otros cineastas.

El caso es que se asocia a Ophüls con la belleza y la elegancia, con un tiempo pretérito al que no es ajena la desdicha —pero tampoco la dicha—, y que a veces —pero levemente, con suavidad y ligereza— bordea la tragedia, con lo que de sublimadora tiene ésta. El esplendor y la dinámica de sus imágenes refuerzan esa impresión dominante de propiedad, de limpieza, hasta el punto de hacer olvidar los aspectos sórdidos de la vida o del carácter de sus protagonistas, la corrupción o la represión de las sociedades en que les ha tocado vivir. De Madame de..., como de Liebelei (Amoríos, 1932) es más fácil recordar las joyas, los bailes y la nieve que los duelos que ponen punto final a ambas historias, tan semejantes a veintiún años de distancia que parecen encerrar entre las dos todo Ophüls. De Lola Montes se nos quedan el color, la fastuosidad de diversas cortes europeas, el teatro y el circo, y se nos olvidan los aspectos más grotescos y crueles, a pesar de que con ellos termina la película. De Carta de una desconocida se nos viene ante todo a la memoria la precaria armonía de una felicidad ilusoria, y se nos borra con facilidad asombrosa la patética mezquindad, la cobardía, la frustrada promesa.

Y, sin embargo, hay un par de películas americanas de Ophüls, no muy apreciadas precisamente porque no parecen responder al modelo de lo "típicamente ophulsiano" que se posa en nuestra memoria visual, en las que el lado sombrío siempre presente en su cine pasa a ocupar un primer plano inhabitual, y a convertirse en su tonalidad dominante. Se trata de las dos últimas que hizo en Hollywood, Caught y The Reckless Moment.

Tras la careta

¿Qué nos revelan estas dos películas? Un presente desprovisto de la elegancia del antiguo Viejo Mundo. No estamos ya en la Viena recreada en estudio de Carta de una desconocida, ni en la policromada corte de Luis II de Baviera, ni en el París de Guy de Maupassant. Entre los personajes no están Franz Liszt ni el emperador Francisco José, ni Werther, ni Carlos II de Inglaterra, aunque no falten románticos como Martin Donnelly (James Mason), al menos en la última de ellas. Pero son americanos actuales, extraídos del bajo mundo o de las altas finanzas, más o menos desequilibrados y desesperados, cuya elegancia es completamente inexistente o resulta una auténtica e inesperada sorpresa, con la que en ningún caso se podía contar.

En principio, tanto una como otra son películas que, al igual que casi todas las de Ophüls, dondequiera que las rodase, se podrían calificar de melodramas; más precisamente, puesto que, como también suele suceder en la obra de este cineasta, están centradas en personajes femeninos, sería lógico adscribirlas al subgénero —despreciado entre todos— de las women's pictures, sobre y para mujeres. Ninguna de ellas cuenta con una base literaria mínimamente ilustre o siquiera respetable, ni tiene el menor cariz historicista. Pese a ello, son dos películas extraordinariamente cultas y civilizadas, lo que prueba que —pese a la audiencia nominal de Ophüls como guionista, y a que la primera de ellas iba a ser dirigida por John Berry— son obras personales, en las que, quizá gracias a la intervención de James Mason, y en la segunda de Joan Bennett y su marido, el productor Walter Wanger, Ophüls pudo trabajar con relativa libertad de acción.

De los incontables cineastas europeos que emigraron a Hollywood, por causas muy variadas, desde los años veinte a la Segunda Guerra Mundial, la mayoría consiguieron —con mayor o menor facilidad y fortuna— integrarse en el sistema de producción y en la sociedad americana. Aunque tengan obra anterior y posterior a su período americano realizada en Europa, como Fritz Lang, Victor Sjöström o Robert Siodmak, y con mayor razón si no regresaron nunca a su país natal o ya no desarrollaron una actividad cinematográfica normal, como Ernst Lubitsch, Alfred Hitchcock, Edgar G. Ulmer, Otto Preminger, Douglas Sirk, Jacques Tourneur y tantos otros, se les puede considerar corno cineastas americanos, sin por ello olvidar que también en Alemania, Suecia, Inglaterra o Francia hicieron cosas importantes. Sólo Jean Renoir, Mauritz Stiller y Ophüls, con independencia de que filmasen en Estados Unidos algunas de sus más grandes películas, no llegaron nunca a ser "americanos", a hacerse un lugar dentro de Hollywood; ni siquiera en el caso de Renoir, que se quedó a vivir allí, pero que no volvió a hacer cine en Estados Unidos después de The Woman on the Beach (La mujer de la playa, 1946). En lo que concierne a Ophüls, que es aquí y ahora el que nos importa, no se trata de que la experiencia fuese totalmente desastrosa, puesto que si —como, por lo demás, le sucedió a varios otros— tuvo en los primeros años dificultades para trabajar, se puede defender que Carta de una desconocida es su película más lograda, perfecta y personal; pero es evidente que no llegó a sentirse a gusto en Hollywood, y que —aunque contase con los medios técnicos para dar forma a su concepción del cine— las reglas no escritas del cine americano le resultaban incómodas y limitadoras. Precisamente, buena parte del especialísimo interés de Caught y The Reckless Moment estriba en la tensión entre la visión del mundo de Ophüls y los requisitos que había de cumplir una película americana de la época. Y de ese combate con las convenciones procede la naturaleza híbrida de estos dos melodramas, contaminados deliberadamente de "cine negro", hasta el punto de que la última de ellas pueda considerarse una de las cumbres de ese "género" al que no pertenece del todo, ya que tanto una como otra se sitúan en la frontera del cine "negro" y el melodrama.

Visualmente, son sin duda las dos películas más "oscuras" y claustrofóbicas de toda la itinerante carrera de Max Ophüls; sus personajes son también los menos idealistas y los más peligrosos, según atendamos al carácter de sus protagonistas o al de sus antagonistas masculinos. En Caught, el desequilibrio y la violencia de Smith Ohlrig (Robert Ryan), junto con el espacio creado por la fotografía de Lee Garmes, nos hacen adentrarnos en el inquietante territorio del cine "negro" psicológico. En The Reckless Moment el chantaje, el homicidio y su ocultación, a pesar de la conducta final de Donnelly y de las relaciones que se establecen entre él y Lucia Harper (Joan Bennett), nos introducen en el género "negro" de una manera mucho más radical: no se trata de un "baño", con la consiguiente "impregnación" del género negro, como en Caught, sino de la materia y la dramaturgia mismas. Que luego no sean ni el misterio ni su esclarecimiento, ni primordialmente la crítica social, lo que a Ophüls le importa, es otra cuestión; en el fondo, a Ophüls siempre le han interesado más los personajes y sus sentimientos que la peripecia dramática o la narración, y por ello no puede extrañar que, pese a sus "negruras", tampoco se atengan a las normas del cine "negro". En Caught y The Reckless Moment, sin embargo, es cuando Ophüls ha estado más cerca de integrarse en la corriente principal del cine americano; que no lo haya logrado, o que haya conseguido salirse con la suya, y hacer una obra mucho más personal, sólo indica hasta qué punto la coherencia y la tenacidad fueron siempre dos de sus máximas virtudes, y es muy posible que el lado "negro" de estas películas sea consecuencia de la idea de América que se hizo, no del afán de ganar dinero o de subirse a un género que por entonces, si no estaba de moda, por lo menos llegó a establecerse como tal.

Miguel Marías

Libro “Max Ophuls” – Ediciones JC. Colección Directores de Cine. Número 28 (1987)

#miguel marías #max ophüls

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todayclassical · 7 years

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April 10 in Music History

1633 Birth of composer Werner Fabricius.

1602 Italian composer Claudio Monteverde becomes a citizen of Mantua.

1707 Birth of Italian composer Michel Corrette.

1725 FP of Ariosti’s “Dario” in London.

1737 Birth of composer François Giroust.

1764 Leopold Mozart and his two children leave Paris for London.

1802 Death of English soprano Charlotte Brent.

1808 Birth of composer Auguste Franchomme.

1847 Birth of composer Charles Swinnerton Heap.

1853 FP of Charles Gounod’s Ave Maria in Paris. The chord structure based on the first prelude from Bach’s Well-Tempered Clavier. 1864 Birth of British-born German pianist and composer Eugene D'Albert in Glasgow. 1868 FP of Brahms’ German Requiem, at a Good Friday concert in Bremen. Ein Deutsches Requiem, Brahms conducting.

1878 Birth of American soprano Lucy Marsh in Ithaca, NY.

1886 FP of Emanuel Chabrier’s opera Gwendoline in Brussels.

1887 Birth of composer Heinz Tiessen.

1892 Birth of Italian conductor and composer Victor de Sabata in Trieste. 1893 Birth of English contralto-mezzo-soprano Astra Desmond in Torquay.

1902 Birth of English brass band conductor and trumpeter Harry Mortimer. 1903 Birth of Austrian opera stage director Herbert Graf, in Vienna. 1910 Birth of American pianist Leonard Shure.

1910 Birth of Egyptian composer Abu-Bakr Khairat.

1911 Death of Lithuanian composer Mikolajus Konstantinas Ciurlionis.

1913 FP of Montemezzi’s opera L'Amore dei tre re at the Teatro della Scala in Milan, Tullio Serafin conducting.

1914 Birth of American composer Negro spirituals Noah Francis Ryder.

1919 FP of Gabriel Fauré’s Masques et Bergamasques, in Monte Carlo.

1922 Birth of Australian baritone Neil Easton in Sydney.

1925 Birth of Czech tenor Vilem Pribyl.

1926 Birth of composer Jacques Casterede.

1927 Birth of Peruvian tenor Luigi Alva, in Lima, Peru.

1927 FP of George Antheil’s Ballet mécanique at Carnegie Hall in New York City. The first symphonic work using an airplane propeller and other mechanical devices.

1927 FP of G. Antheil’s A Jazz Symphony. W.C. Handy jazz band with the composer at the piano.

1929 Birth of film music composer Dusan Radic.

1930 Birth of French jazz pianist and composer Claude Bolling. 1932 Birth of American pianist Enid Katahn in Pittsburgh, PA.

1933 Birth of American minimalist composer Philip Corner.

1934 Birth of Yugoslavian soprano Mirka Klaric.

1935 Birth of American conductor Jorge Mester in Mexico City.

1935 FP of Ralph Vaughan Williams’ Symphony No. 4. BBC Symphony, Sir Adrian Boult conducting in London.

1937 Birth of Italian soprano Edith Martelli.

1939 Birth of American composer Andrew Rudin in New Gulf, TX.

1942 Birth of American soprano June Card in Dunkirk, NY.

1946 Birth of composer Anne Boyd.

1949 Birth of Yugoslavian composer Vladimir Tosic in Belgrade.

1952 Death of English baritone and composer Frederic Austin in London.

1953 Birth of English soprano Sarah Leonard in Winchester, Hampshire. 1955 Birth of English soprano Leslie Garrett in Yorkshire.

1958 Birth of Russian pianist Yefim Bronfman.

1960 Death of Australian composer and pianist Arthur Benjamin. 1963 FP of Francis Poulenc’s Clarinet Sonata, at Carnegie Hall. Clarinetist Benny Goodman and pianist Leonard Bernstein.

1964 Death of German baritone Robert Von Scheidt.

1984 FP of Ellen Taaffe Zwilich’s Prologue and Variations. Chattanooga Symphony, Richard Cormier conducting.

1988 FP of Joan Tower’s Clarinet Concerto. Charles Neidich and the American Symphony Orchestra, Jorge Mester conducting.

1992 FP of Michael Torke’s Music on the Floor for chamber ensemble. Present Music ensemble, Kevin Stalheim conducting in Milwaukee, WI.

1996 FP of Stanislaw Skrowaczewski’s Passacaglia Immaginaria. Minnesota Orchestra, Eiji Oue conducting in Minneapolis.

1997 Death of Japanese composer Toshiro Mayuzumi.

2004 Death of South African soprano Marita Napier.

2005 Death of Austrian-English violinist Norbert Brainin.

#classicalmusic #musichistory #todayclassical #today in music history #onthisday

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