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Warning: Cannot modify header information - headers already sent by (output started at /var/www/html/core/lib/class.plx.motor.php:349) in /var/www/html/core/lib/class.plx.feed.php on line 266 Atlante - Revue d'études romanes - Tag musique-de-film
https://atlante.univ-lille.fr/tag/musique-de-film
frFri, 01 Nov 2019 14:51:00 +0100PluXml05.Música, mito e historia de El Dorado : ¿Carlos Saura <em>versus</em> Werner Herzog?
https://atlante.univ-lille.fr/05-musica-mito-e-historia-de-el-dorado-carlos-saura-emversus-em-werner-herzog.html
https://atlante.univ-lille.fr/05-musica-mito-e-historia-de-el-dorado-carlos-saura-emversus-em-werner-herzog.html<p>Marianne Bloch-Robin<br />Université de Lille<br />CECILLE EA 4074<br />p.78-93.</p>
<p> </p><p><strong>Marianne BLOCH-ROBIN, Música, mito e historia de El Dorado : ¿Carlos Saura<em> versus </em>Werner Herzog?</strong></p>
<p style="text-align: justify;"><strong>Resumen.</strong> En este artículo analizamos el papel de la música en la película de Carlos Saura <em>El Dorado </em>(1987) a partir del estudio de la partitura arreglada por el compositor Alejandro Massó. Si bien en la concepción de su película basada en numerosas fuentes histórica, el director aragonés apuesta por oponerse a la obra de Werner Herzog <em>Aguirre,</em> <em>Der Zorn Gottes</em> (1972), también centrada en la aventura del hidalgo vasco Lope de Aguirre en busca de la ciudad mítica de El Dorado, la banda musical, de las que analizamos dos obras más particularmente – <em>La Recercada</em> (1553) de Diego Ortiz y un fragmento del preludio del tercer acto de <em>Tristan und Isolde </em>(1865) de Richard Wagner – contribuye a conferir a la película una dimensión mítica y universal que la desliga en cierta medida de la referencia histórica diegética y la aproxima a la obra de Herzog.</p>
<p><strong>Palabras clave:</strong> Música cinematográfica, Mito, Historia, Carlos Saura, El Dorado</p>
<p> </p>
<p><strong>Marianne BLOCH-ROBIN, Musique, mythe et histoire d’El Dorado : Carlos Saura <em>versus</em> Werner Herzog ?</strong></p>
<p style="text-align: justify;"><strong>Résumé.</strong> Nous analysons dans cet article le rôle de la musique dans le film de Carlos Saura <em>El Dorado</em> (1987) à partir de l’étude de la partition arrangée par le compositeur Alejandro Massó. Dans la conception de son film fondée sur de nombreuses sources historiques, le réalisateur aragonais prend le parti d’une opposition à l’œuvre de Werner Herzog <em>Aguirre,</em> <em>Der </em><em>Zorn Gottes</em> (1972), qui s’attache également à l’aventure de l’hidalgo basque Lope de Aguirre à la recherche de la ville mythique d’<em>El Dorado</em>. Néanmoins, la bande musicale, dont nous analysons plus particulièrement deux œuvres – <em>La Recercada</em> (1553) de Diego Ortiz et un fragment du prélude du troisième acte de <em>Tristan und Isolde</em> (1865) de Richard Wagner – contribue à conférer au film une dimension mythique qui l’éloigne, dans une certaine mesure, de la référence historique diégétique et la rapproche de l’œuvre de Herzog.</p>
<p><strong>Mots clés. </strong>Musique de film, Mythe, Histoire, Carlos Saura, El Dorado</p>
<p><strong> </strong></p>
<p><strong>Marianne BLOCH-ROBIN, </strong><strong>Music, myth and history of El Dorado: Carlos Saura <em>versus</em> Werner Herzog?</strong></p>
<p style="text-align: justify;"><strong>Abstract.</strong>This article analyzes the music’s role in Carlos Saura’s Film <em>El Dorado</em> (1987) according to the study of the score arranged by the composer Alejandro Massó. The conception of the film, based on several historical sources, is build as an opposition to Werner Herzog’s film <em>Aguirre,</em> <em>Der Zorn Gottes</em> (1972), also focused on the adventure of the basque hidalgo Lope de Aguirre pursuing the mythical city of El Dorado. The soundtrack, from which we analyze two pieces in particular – <em>La Recercada</em> (1553) by Diego Ortiz and a fragment of the prelude to the third act of Wagner’s <em>Tristan und Isolde</em> (1865) – contribute to confer to the film a mythical dimension which diverts, to a certain extent, from the historical diegetic reference, and brings it closer to Herzog’s work.</p>
<p><strong>Keywords. </strong>Film music, Myth, History, Carlos Saura, El Dorado</p>
<p><a href="https://atlante.univ-lille.fr/data/images/atlante-10-2/78-93-m.-bloch-robin.pdf">Télécharger l'article complet (Pdf, 1 Mb)</a></p>Fri, 01 Nov 2019 14:51:00 +0100marianne.bloch-robin