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FLAMENCO Synopsis in FLAMENCO Carlos Saura Has Done Without a Fictional Narrative and Concentrates Instead on the Diverse Facets Land: Spanien 1995

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26. internationales forum 13 des jungen films berlin 1996 «SS FLAMENCO Synopsis In FLAMENCO Carlos Saura has done without a fictional narrative and concentrates instead on the diverse facets Land: Spanien 1995. Produktion: Juan Lebrön Producciones, S.A.. of Spanish musical heritage: the 'burlerfa', the Regie und Buch: Carlos Saura. Kamera: Vittorio Storaro. Musik: 'martinete', the Tango and the Fandango, the 'taranta', Isidro Munoz. Ausstattung: Rafael Palmero. Schnitt: Pablo del the Rumba, and the 'soléa'. He has assembled them all Arno. Tonmischung: Gerry Humphryes. in the sober atmosphere of an abandoned railway Mitwirkende: Pepe de Lucia, Manolo Sanlücar, Lole y Manuel, station, the best-known representatives of Flamenco Joaquin Cortes, Farruco, Farruquito, Mario Maya, Matilde Coral, song and dance. La Paquera de Jerez, Fernando de la Enrique Morente, José Mercé, José Menese, Merche Esmeralda, Morena, El Barullo, El Torta, Pepe de Lucia, Merche Es• Manuela Carrasco, La Paquera de Jerez, Carmen Linares, Paco meralda, Joaquin Cortés, Maria Pages, Manuela Toronjo, Fernanda de Utrera, Chocolate, Paco del Gastor, Agujeta, Carrasco, El Grilo, Belén Maya, Matilde Coral. Moneo, Aurora Vargas, Remedios Amaya, Juana la del Revuelo, And yet, this is not a documentation for specialists, but Chano Lobato, Potito, Duquende, Tomatito, El Grilo, Manzanita, a unique compendium of the high art and magic of Ketama, Morafto Chico, Fernando de la Morena, El Mono, El Spanish popular culture, a unique fusion of Greek 3rta, El Barullo, Dieguito de la Margara, Antonio Jero, Nino castanets, Mozarabic folk songs, Gregorian chants, sro, Diego Carrasco, Ramön Amador, Pepe de Lucia, Antonio Castilian love stories, and Jewish laments, Black music Toscano, Maria Pages, Rafael Riqueni, José Antonio Rodriguez, and Gypsy influence from faraway India, who have long La Macanita, Las Peligro, Coreogafia Merche Esmeralda, Escuela since integrated into Spain. By using stylization Carlos Flamenca de Matilde Coral, Grupo Joaquin Cortés, Bailaores Saura has succeeded in creating a congenial filmic Mario Maya, Peha Tio José de Paula, Grupo Cané de Fandangos, language. Familia Farruco, Juan Parrilla, Carlos Benavent, Rubén Danta, Jorge Pardo, Ramon de Algeciras, Juan Manuel Canizares, Carlos Saura and his passion for flamenco Rancapino, Paco Jarana, Juan Carlos Romero, Doctor Keli, Joaquin This is not the first time Carlos Saura deals with the Amador, Belén Maya, Gregorio, Bo, Jarillo, Chicharito, Bobote, phenomenon of flamenco. He has already made three Eléctrico, Quique Paredes, El Portugues, Martfn Chico, Martfn musical films with dancer Antonio Gades and guitarist Revuelo, Manuela Nunez, Sebastiana, José A. Carrasco, Enriqueta Paco de Luc fa: Carmen, Bodas de Sangre and El Amor Molina. Brujo. The precursor to FLAMENCO (a musical Format: 35 mm, 1:1.85, Farbe; Länge:100 Minuten. anthology) is Sevillanas, an hour-long film made in 1992 Uraufführung: 15.06.1995, Palacio de la Musica, Madrid. for the Expo in Seville, with Juan Lebron as producer. Weltvertrieb: Sogepaq, Gran Via, 32, 28013 Madrid, Spanien, The concept for FLAMENCO, however, pre-dates Tel.: (34-1)5220529, Fax: (34-1)5210875. Sevillanas. Inhalt „Since flamenco is a very complex topic we decided to Carlos Saura hat in FLAMENCO auf eine fiktive Handlung ver• do Sevillanas first," says Saura. „I have always been zichtet und sich ganz auf die vielfältigen Facetten von Spaniens very interested in flamenco, but it also scared me usikalischem Nationalgut konzentriert: der 'burlerfa' und der because it is a tricky topic. That's my reason for taking artinete', dem Tango und dem Fandango, der 'taranta', der such a cautious approach to this music and its soul. Rumba und der 'soléa'. Im nüchternen Ambiente eines stillge• Not because I am a naturally cautious person, but legten Bahnhofs hat er sie alle vereint, die bekanntesten Vertre• because flamenco is so complex and difficult. The film terinnen und Vertreter des gesungenen und getanzten Flamen• only represents one way of approaching flamenco. All co: La Paquera de Jerez, Fernando de la Morena, El Barullo, El the others are also present. Since my knowledge of Torta, Pepe de Lucia, Merche Esmeralda, Joaquin Cortés, Maria Pages, Manuela Carrasco, El Grilo, Belén Maya, Matilde Coral. Dennoch ist hier kein Dokument für Spezialisten entstanden, sondern ein einzigartiges Kompendium der hohen Kunst und Magie des berühmtesten Teils spanischer Volkskultur, dieser ein• zigartigen Verschmelzung von griechischen Kastagnetten, mozarabischen Volksliedern, gregorianischen Gesängen, kasti- lischen Liebesgeschichten und jüdischen Klageliedern, der Mu- , sik der Schwarzen und dem Einfluß der Zigeuner, die aus dem fernen Indien kamen und sich in Spanien niederließen. Carlos Saura ist es gelungen, mit stilisierten Mitteln einen kongenialen filmischen Ausdruck hierfür zu erfinden. Carlos Saura und seine Leidenschaft für den Flamenco Es ist nicht das erste Mal, daß Carlos Saura sich mit dem Fla• menco beschäftigt. Mit dem Tänzer Antonio Gades und dem Gitarristen Paco de Lucia hat er bereits drei Musikspielfilme ge• macht: Carmen, Bodas de Sangre und El Amor Brujo. Der Vor- läufer von FLAMENCO (einer musikalischen Anthologie) ist flamenco isn't comprehensive, I had no intention of giving Sevillanas, ein einstündiger Film, den der Regisseur 1992 an• a comprehensive analysis but of making a subjective, läßlich der Expo in Sevilla drehte und dessen Produzent Juan personal essay in which excellent artists give their Lebrön war. Die Idee zu FLAMENCO entstand jedoch vor renditions. I wanted the images and artists to convey to 5ev/7/anas. the audience that flamenco is a serious, beautiful and „Da der Flamenco ein sehr komplexes Thema ist, haben wir uns unique phenomenon. Had I chosen a simpler approach, entschlossen, zuerst Sevillanas zu drehen", meint Saura. „Mich I would have betrayed the film." hat der Flamenco immer stark interessiert, doch er hat mir auch FLAMENCO was filmed inside an abandoned train Angst gemacht, weil es ein sehr heikles Thema ist. Deshalb bin station (Estacion de Armas) in Sevilla, a locale which ich in die Seele dieser Musik mit großer Behutsamkeit einge• contrasts gypsy exhibitionism with a neutral setting. drungen. Nicht weil ich ein vorsichtiger Mensch bin, sondern Light plays an important role in these surroundings; weil der Flamenco sehr vielschichtig und diffizil ist. Der Film ist hence the choice of Vittorio Storaro as cameraman. "I eine Annäherung an den Flamenco, die man auch anders hätte wanted a neutral background which doesn't distract," versuchen können. In ihm finden sich fast alle wieder, die dazu• explains Saura, "one in which light produces either a gehören. Da meine Kenntnis des Flamenco nicht so umfassend cold or a warm aura, and one that allows the artist to ist, hatte ich nicht die Absicht, eine Synthese zu liefern, sondern express him/herself without giving him/herself up or einen subjektiven, persönlichen Essay, interpretiert von vortreff• becoming a mere anecdote. I wanted the artist to remain lichen Künstlern. Ich wollte, daß der Zuschauer mittels der Bil• autonomous." Guitarist Manolo Sanlucar endorses this der und der besten Künstler dieses Landes erfährt, daß es sich decision (Saura says that the guitar is transformed into beim Flamenco um eine sehr ernste und schöne, auf dieser Welt an utterly sensual object in Sanlucar's chubby fingers): einzigartige Sache handelt. Hätte ich mich auf etwas Einfache• "I totally agree with Saura that nothing, not even a sin• res eingelassen, hätten wir den Film verraten." gle flower pot, ought to be in the background if one FLAMENCO wurde im Innern eines stillgelegten Bahnhofs wants to demonstrate the purity of flamenco and libérât^ (Estaciön de Armas) von Sevilla gedreht, einem Ort, an dem das it from unnecessary flourish. Flamenco is somethinP Imponiergehabe des Zigeuners mit einem neutralen Dekor kon• that expresses itself through itself, through its music and trastiert. Unter diesen Bedingungen spielt das Licht eine wichti• poetry. It doesn't belong to folklore. Flamenco is the ge dramatische Rolle; deshalb die Wahl von Vittorio Storaro als result of personal circumstances and individual feelings, Kameramann. „Ich wollte eine neutrale Ausstattung, die nicht the manifestation of a deep personal emotion. The music ablenkt", erläutert Saura, „eine, die erst durch das Licht eine is rough but it is also joyous." kalte oder heiße Ausstrahlung annimmt, die es dem Künstler Saura used this contrast to deconstruct some of the myths erlaubt, sich frei auszudrücken, ohne daß er sich dabei aufge• surrounding the genre. "It isn't the whole truth that one ben muß oder zur Anekdote wird. Die Intention war, den Künst• experiences authentic flamenco during riotous, drunken ler bei seiner Aufgabe autonom zu lassen. Diese Entscheidung night sessions. I have listened to flamenco sessions wurde bestärkt durch den Gitarristen Manolo Sanlücar (von dem recorded during a hot night. They seemed unique at the Saura sagt, daß die Gitarre unter seinen pummeligen Fingern zu time but they did not have the quality I had hoped for. einem vollkommen sinnlichen Objekt wird): „Ich stimme mit Why? It's very subjective: the alcohol, the excitement, Saura absolut darin überein, nichts, aber auch nicht einen einzi• the atmosphere made it exciting, made it seem like a gen Blumentopf ins Bild zu bringen, um die Reinheit des Fla• brilliant performance. Afterwards, I knew it wasn't the menco zu zeigen und ihn von den vielen Schnörkeln zu
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  • El Eneagrama Sauriano: Geometrías De La Memoria En El Cine De Carlos Saura Durante La Transición Democrática Española

    El Eneagrama Sauriano: Geometrías De La Memoria En El Cine De Carlos Saura Durante La Transición Democrática Española

    Observatorio (OBS*) Journal, (2018), 131-146 1646-5954/ERC123483/2018 131 El eneagrama sauriano: geometrías de la memoria en el cine de Carlos Saura durante la Transición democrática española Ernesto Perez Moran* *Universidad de Medellin, Colombia Resumen El cine de Carlos Saura durante la Transición democrática española tiene un fuerte componente revisionista. La memoria y su representación impregnan un cuerpo de seis películas que pivotan sobre esa vuelta atrás que llevan a cabo los personajes saurianos. Analizados uno a uno y realizando una lectura transversal, llama la atención que responden a lo que parece ser una disposición –más o menos consciente– que se repite hasta adquirir la categoría de esquema. Lo hemos llamado “Eneagrama Sauriano” porque supone la reiteración de una serie de figuras arquetípicas cuyas funciones están al servicio de la memoria, hasta conformar algo similar a un modelo memorístico (¿extrapolable?) a cargo de un cineasta que no dejaba nada al azar en sus realizaciones. Y ese modelo, además, nos permite delinear las principales características de la memoria en el cine de Carlos Saura. Palabras Clave: Cine, Carlos Saura, Memoria, Personajes, Cine Español, Cine y memoria Abstract Carlos Saura’s filmography during Spanish Transition is strongly revisionist. Memory and its representation imbue a group of six films that revolve around this return the characters of Saura implement. A comparative analysis of them reveals the saurian characters shape some kind of scheme. We’ve called “Carlos Saura’s Enneagram” because it implies the repetition of a group of archetypes subordinate to the Memory. Our main objective is to define a memory model by a film director who never left nothing up to fate.