Alexander Sokurov Poeta Visual CDD: 791.430947

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Alexander Sokurov Poeta Visual CDD: 791.430947 Afeição da Virgem Ícone de Novgorod (sec. XII) Coleç ã o do Kremlin, Moscou III Albrecht Dürer Melancolia (1514) Metropolitan Museum of Art, Nova York V Pieter Bruegel Torre de Babel (1563) Kunsthistorisches Museum, Viena VII El Greco (Doménikos Theotokópoulos) Os apóstolos Pedro e Paulo (1592) Museu Hermitage, São Petersburgo IX Rembrandt Van Rijn Boi esquartejado (1655) Museu do Louvre, Paris XI Pieter Saenredam Praça de Santa Maria e Igreja de Santa Maria em Utrecht (1662) Museu Boymans Van Beuningen, Rotterdam XII Hubert Robert Pintores (década de 1790) Museu Hermitage, São Petersburgo XIII Caspar David Friedrich Andarilho sobre o mar de neblina (1818) Kunsthalle Hamburgo XV Alexander Sokurov poeta visual CDD: 791.430947 A 378 Alexander Sokurov: poeta visual / organização Fábio Savino e Pedro França. Rio de Janeiro: Banco do Brasil, Ministério da Cultura, Zipper Produções, 2013. 302p. il. ISBN: 978-85-64723-01-6 Catálogo da mostra de cinema realizada no Centro Cultural do Banco do Brasil no Rio de Janeiro, de 7 a 26 de maio, Centro Cultural do Banco do Brasil em São Paulo, de 22 de maio a 16 de junho e Centro Cultural do Banco do Brasil em Brasília, de 11 a 30 de junho. 1. Sokurov, Alexander, 1951- . 2. Cinema russo – Brasil – mostra de cinema. I. Savino, Fábio. II. França, Pedro. III. Centro Cultural do Banco do Brasil. Brasil. Ministério da Cultura. Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina Alexander Sokurov poeta visual Organização Fábio Savino e Pedro França CCBB Rio de Janeiro 7 a 26 de maio CCBB São Paulo 22 de maio a 16 de junho CCBB Brasília 11 a 30 de junho 2013 Banco do Brasil e Ministério da Cultura apresentam Alexander Sokurov – poeta visual, mostra de cinema que traça um panorama da obra do premiado cineasta russo, reconhecido pela European Film Academy como um dos maiores diretores do cinema mundial. Sokurov, autor de controversa % lmogra% a contemporânea, cursou a famosa escola russa de cinema, a VGIK. Apesar de depreciado pelos dirigen- tes da escola, conquistou elogios de grandes nomes da sétima arte, como An- drei Tarkovski, que disse ver em Sokurov um dos “raros gênios do cinema”. Aclamado em festivais internacionais, o diretor venceu o Leão de Ouro no Festival de Veneza em 2011 por Fausto; concorreu cinco vezes em menos de dez anos à Palma de Ouro no Festival de Cannes, vencendo a Palma de melhor roteiro por Moloch (1999) e o Prêmio da Crítica por Pai e ! lho (2003). Um de seus % lmes mais aclamados é Arca russa (2002), % lmado num único plano-sequência de 95 minutos dentro do Museu Hermitage, em São Petersburgo. Por meio dos % lmes, palestra e catálogo, o Centro Cultural Banco do Brasil oferece ao público brasileiro a chance de ver e sentir a obra de Alexander Sokurov, experiência valiosa para os que procuram acompanhar o desenvolvimento do audiovisual contemporâneo e propostas instigantes de grande apuro estético. Com essa retrospectiva, o CCBB não só permite ao cidadão brasileiro o aprofundamento na obra de um mestre do cinema russo, mas continua a oferecer o contato com títulos pouco exibidos no país e a estimular a re8 exão. Centro Cultural Banco do Brasil Sobre a mostra Alexander Sokurov, poeta visual Sokurov é o cineasta do sublime. Seus % lmes narram situações quase inexprimíveis, que sobrepujam seus personagens, sempre diante de uma natureza hostil - seja ela humana ou sentimental - que transforma suas próprias existências. Mesmo quando existe uma relação de par, como em Pai e ! lho e Mãe e ! lho, a experiência é individual. O amor e a solidão se misturam e se transformam em um novo único sentimento, indissociáveis– que 8 oresce em todos os planos. A beleza apresentada por Sokurov, que emana de seus personagens e paisagens, inunda o plano fílmico – a linda tomada do rosto de Margarida iluminado pela luz do sol em Fausto é um exemplo perfeito. A extrapolação se torna mais evidente ao percebemos em seus % lmes uma não de% nição proposital dos contornos dos elementos da imagem. Ao contrário, diluem a singularidade das coisas, trazendo a imagem para a superfície mesma da tela do cinema: “Rigorosamente, a superfície da tela de cinema e a da tela de pintura são uma única e mesma coisa”. Sokurov nega a tridimensiona- lidade indicial do cinema, e assume-se herdeiro de uma tradição planar que nasceu na pintura (que está em El Greco, Rembrandt, Friedrich, mas tam- bém na perspectiva inversa dos ícones russos). Sokurov é uma sensibilidade clássica, e em certos aspectos conservadora. A exaustiva experiência sensorial, seja ela imagética ou sonora, pode ser considerada a espinha dorsal de toda a obra de Sokurov.Ver seus % lmes é vivê-los. Imagens que são apenas imagens; sons que são apenas sons. Os dois muitas vezes coexistindo sem nunca se tocarem. Essa construção artística vai além de ser só um recurso estético: ela é também o trabalho de um historiador. Seus % lmes, mesmo suas % cções, são retratos de conhecidos nomes da história mundial (como, por exemplo, com na tetralogia do poder sobre Hitler, Lenin, Hirohito e Fausto – esse último o único % ccional) ou de pessoas desconhecidas. Narrativas que muitas vezes se confundem e se fundem com a pró- pria história dos corpos presentes na imagem. Como se pudéssemos ver no corpo, na carne, essa linha temporal explícita, que começa no nascimento - “Abro meus olhos e não vejo nada”, diz o cineasta em Arca russa – até o desespero e perplexidade diante da morte – Lenin se isola em Taurus diante de seu iminente % m. Fizemos uma seleção abrangente, que engloba todos os seus % lmes de % cção, desde seu primeiro longa-metragem A voz solitária do homem, produzido ainda dentro do Instituto VGIK (Rússia), até Fausto, premiado em 2011 com o Leão de Ouro no Festival de Veneza. Outra linha impor- tante do seu trabalho, as elegias, também pode ser vista em sua integralida- de. Apresentamos também dois grandes documentários da % lmogra% a do cineasta: Con! ssões e Vozes espirituais; apresentados em duas e quatro partes respectivamente, permitem ao espectador uma imersão total nos objetos e situações representadas. Este catálogo, lançado por ocasião da mostra Alexander Sokurov, poeta visual, foi editado por Fábio Savino e Pedro França. A publicação pretende apresentar um panorama da recepção da obra de Sokurov, des- de o início de sua internacionalização, ainda nos anos 80, até hoje. Con- tribuíram para esse catálogo alguns de seus comentadores mais antigos (Mikhail Iampolski, François Albera, Fredric Jameson, Antoine Cattin e Elena Hill), e críticos mais recentes (Eva Binder, Leonid Heller, Philippe Roger, Jacques Rancière, Robert Bird, Cyril Béghil). Apresentamos tam- bém entrevistas e relatos de alguns de seus principais colaboradores (Yuri Arabov, seu roterista em diversos % lmes, Leda Semenova, montadora, Vladimir Persov, técnico de som, e Bruno Delbonnel, diretor de fotogra- % a no recente Fausto), além de três entrevistas concedidas em momentos diversos de sua carreira. Dois textos inéditos em português (Laymert Gar- cia dos Santos e Mateus Araújo Silva) ajudam tanto a traçar um histórico (incomleto, evidententemente) de sua recepção no Braisl como a indicar a pertinência de sua obra. A organização dos textos, que passa pelos pontos de contato de sua obra com a pintura, a literatura, o teatro e a música, foi concebida organicamente, de modo a tornar possível ao leitor uma leitura contínua, do primeiro ao último texto. Ao % nal do catálogo, além da % l- mogra% a, organizamos uma bibliogra% a que deve ajudar pesquisadores e interessados em aprofundar o debate sobre a obra deste grande artista. Fabio Savino e Arndt Roskens (curadores) Sumário Alexander Sokurov: da singularidade à exemplaridade François Albera ........................................................................... 11 Sokurov e a via do sublime Laymert Garcia dos Santos ........................................................... 51 Os retratos cinematográ% cos de Sokurov Eva Binder ................................................................................. 53 O ator na obra de Sokurov: uma pro% ssão para amadores Antoine Cattin e Elena Hill ......................................................... 71 O horizonte pací% co do % m do mundo: Sokurov e a literatura russa Leonid Heller ............................................................................. 85 O diretor torna-se autor Yuri Arabov .............................................................................. 109 Os dias do eclipse Mateus Araújo .......................................................................... 113 Famílias truncadas e intimidade absoluta Mikhail Iampolski ..................................................................... 121 A poética sonora de Sokurov Philippe Roger .......................................................................... 135 É um processo: entrevista com Vladimir Persov Olga Shervud ........................................................................... 153 Cinema como pintura? Jacques Rancière ........................................................................ 177 Canções planares: entrevista com Alexander Sokurov Lauren Sedofsky ........................................................................ 183 Sobre Arca russa: entrevista com Alexander Sokurov Alexandra Tuchinskaya .............................................................. 193 A montagem é a aproximação % nal à ideia Leda Semenova ......................................................................... 197 História e elegia em Sokurov Fredric Jameson ........................................................................
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