Allégorie historique et théâtralité chez Glauber Rocha

IdeAs

关键词: Glauber Rocha;    historical allegory;    theatricality;    Walter Benjamin;    Erich Auerbach;   

DOI  :  10.4000/ideas.1486

来源: DOAJ

【 摘 要 】

This article focuses on the way in which Brazilian filmmaker Glauber Rocha develops his political intervention, between 1963 and 1979, conceiving his films as historical allegories. His cinema performs a dramatic condensation of the plot, punctuated by an epic commentary in voice over which de-naturalizes gestures and speeches, producing a strong effect of theatricality (Sarrazac). In 1964, he assumed the Christian figural allegory (Auerbach) as a formal pattern to recapitulate the peasant struggles which took place from 1889 to 1940 (Black God White Devil); in 1967, he took the baroque drama (Walter Benjamin) to transfigure his generation’s traumatic experience of the 1964 coup d’état (Land in Anguish); in 1979, he built a deconstructive allegory in his fresco of Brazilian life that gives a picture of what he saw as the “crisis of history” at those times (The Age of the Earth). A central leader of Cinema Novo, Rocha assumed the position of an author who embraced political struggle, but never renouncing his most profound aesthetic concerns in his dialogue with his contemporaries, like Godard and Pasolini. The Italian filmmaker has been perhaps his closest partner in his search for a political aesthetics inspired by Marxist thought but articulated with a movement towards a re-enchantment of the world in opposition to bourgeois rationality.

【 授权许可】

Unknown