By Silvia Moretti
In a video describing the pen of the critic confesses often to drown in his ink. Often the writing effort to restore the complexity of electronic effects, the pirouettes of looks that they sprout, the excesses of image and imagination that are layered upon one another. "No video is describable, let alone words," said Marco Maria Gazzano years ago - "let alone those, irreducible, Toti 1. The singularity of
videopere Gianni Toti, irreducible on paper, is But the fact that they may be opened by key card. Toti was in fact a writer of all the scriptures are always looking for new ways to break free from the traps of language. On his arrival at Poetronics, poetry expressed with the electronic units of expression, in the late '70s, it was not fixed in a tear in the paper. Together with the notes he wrote down frantically to keep up with his imagination (cards, kept in the House Totiana in Rome, lend themselves now to be studied), and its production in print, the dozens of volumes of poems sixties, the two novels in the following decade, more than a thousand articles on magazine spread function compared to its true creator avantesti. Among the numerous
videopere totiane, those made in the 80s at the Research and Experimentation Program Rai's daughters are par excellence of the written page. Trilogy Majakovskiana second video works made in 1983, is a singular case. His story begins and ends on paper. Do not start, if not apparent, with or VALERIAscopia dell'amMAGLIattrice, video dance in a tutu and chromakey that forms the first act. It does not end with the last, Heart of Telemar, the free film rehabilitation of a person of Vladimir Mayakovsky. These two movements frame the experiment that earned him to establish the identity the whole trilogy: Chained to the film.
In Toti revisits it literally 2 minutes and 40 seconds of 'eponymous film Sakavannaia filmoi (Turkin, 1918) written and played by Mayakovsky, together with partner Lili Brik. She is to hand over the future Poetronics few fragments escaped a fire, collect the key moments in the history of a love between reality and fiction: the exit of the dancer from the film poster that depicts, its first steps into the room of the painter who is in love with her, his nostalgia of the screen. Lili-dancer comes out, Toti instead enters the film. For escatenarla - says the subtitle of the video - with the fluid language of the tape. The
Poetronics explores frames corner to corner. It produces new images from the same image, duplicating it with specular effects and caledoiscopici or isolating details. With the slow motion, his gaze translates time into space and space with the texture and bright pixel button.
The narrator of Toti interwoven with images in a polyphonic concert. "The dream on paper tape sognificato made flesh "preliminary to a certain point, and continues:" Lili is paper and blood, film, and tape is made of matter depending on the exhausted our dreams. "
Before the tape for over a decade Gianni Toti continues to live chained to the film on paper. The first rewrite is kept in the No. 15 (January-March 1971, p. 111) the journal of secret papers which the poet was co-director along with Domenico Javarone:
"Sakovannaia filmoi: imprisoned, or" chained from the movie ", from cinema by extension: is the second film of Vladimir Mayakovsky, what are the differences assembly. Lisstcka [Lili Brik] Gianni Toti told him, Litciko did force itself, recalled the memory of the memory ... Vladimir was the painter, extracted from the screen, a white lenzuolone the cruising in the room without walls, the woman movie, loved the image inside the film, the image of nothing "(Fig. 1).
In this article, entitled The demoiselle et le voyou - Chained to the film, Toti recalls the evening of February 1970 when Lili led him into a small cinema in Moscow to watch a film of Mayakovsky The demoiselle et le voyou. Holding out the few remaining frames, the friend told him the story of the second film, Chained to the film: "Who has seen, who will see these Leftovers that are not "silent"? "Questions Toti. In France Brik's sister, Elsa Triolet Aragon Kagan, had recently organized an exhibition on Majakovkij. Toti wrote to March 10, 1970 that the matter may be known in Italy. The project blends. Puts it on paper because they do not fall into oblivion:
"... we will try again here [...] telling and posting pictures and posters and cutouts for mounting. In the hope that readers - or some superlettore rich with them - are other organizational and economic resources to bring movies to Mayakovsky in "public" new. "
posters, photographs, Lili letters: most part of the iconographic material will be removed from Toti to the introductory part of his heart with Telemar. In 1978 the plan rewriting audiovisual ambitions took three years
"Years have passed since the Board of Directors of RAI-TV, on the eve of" reform, "approved the project that Gianni Toti had submitted to" the experimental "(...) for a film (television) on the film-brik majakovskijani. He was even prepared a budget for the resumption of a long television interview with Lili Brik, precaution and lovingly say cynical would disappear one day, as late as possible, the immortal mortal woman poet "(Fig. 2).
In Farewell to Lili Brik farewells to 41 the number of cards Secret (Jan-March 1978), Toti can not help but cry, through poetry, the death of the actress feeling "the total inability to return now that life image ': we had to
toti movie again - ah design it!
irrilanciato "unleashed by the film" instead reincatenata
from "distant vision" that the RAIlenti svive
palinsestuale always in his eyes scouring the species.
Given the inertia of the Rai, the only place guaranteed to make seems to be reviving the literary page. On one of the absolute master, the 1977 novel experimental limits of aphasia, life and death become the poles of a dialectic and discussed in chapter 36 right through the woman chained to her cinigma and painter, "he filmed the story of a film [...] and you read it here because the movie was not nonflam buzz and some store of powder, and only these words are written rifilma on a screen so that the internal schermimisce "(The absolute master, Feltrineli, Milan 1977 , p.57). The final song, which suggests some of the verbal images in which the mature narrator in the video is no longer that of the original Chained the film:
"The turnaround of the skirt the heart, the jump of kinetic painter: and all two-page inside the screen-painting-sculpture. He followed: she went out to drag him into his world or he had to chase her out then, the route incantazio, over eternity? "
In rewriting Toti hide in the rewriting of facts and reality intentional Mayakovsky (Figs. 3-4).
After ten years of the trilogy, released a booklet edited by the author, The Legend of Cinelandia (Fahrenheit, Rome 1994): This is the result of a process created and found on the chart where the spaces are resolved 2'40'' visual properties of frames printed. These pages collect the scenario of Chained to the film as noted by brick. And trace its variant ever made: Cinelandia is the land of cinema in search of which the painter, left alone, decided to leave. Mayakovsky would have written a second film, describing the artist's life occurred in the world beyond the screen. In 1926, however, returns on the first draft and signing Heart cinema changing the ending. The painter lit his pipe. Thrown into the air, the match fell to the tail of film to which she was again chained. And the burning. Reality and fiction, a painter and dancer, was not destined to meet again. Under the same sign of a fire that was soon to reality.
----
1. M. Gazzano, Gianni Toti. The time of effect, id., Cinema photography, computer, Quattroventi, Urbino, 1999.
Publicado en la Revista Predella, no. 26 (2009)
ARTICLE IN PDF
0 comments:
Post a Comment