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Musica Elettroacustica E Cinema in Italia Negli Anni Sessanta

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Musica Elettroacustica E Cinema in Italia Negli Anni Sessanta UNIVERSITÀ DEGLI STUDI DI MILANO FACOLTÀ DI LETTERE E FILOSOFIA DIPARTIMENTO DI STORIA DELLE ARTI, DELLA MUSICA E DELLO SPETTACOLO CORSO DI DOTTORATO DI RICERCA IN STORIA E CRITICA DEI BENI ARTISTICI E AMBIENTALI XXII Ciclo TESI DI DOTTORATO DI RICERCA: MUSICA ELETTROACUSTICA E CINEMA IN ITALIA NEGLI ANNI SESSANTA L-ART/07 Maurizio Corbella TUTOR: Prof. Cesare Fertonani COORDINATORE DEL DOTTORATO: Prof. Gianfranco Fiaccadori Firma Anno Accademico 2009/2010 Musica elettroacustica e cinema in Italia negli anni Sessanta Maurizio Corbella Sommario ｜Introduzione ｜ Considerazioni metodologiche 13 ｜1｜ Il sintetizzatore: sperimentazione e cinema 21 Dal Fonosynth al Synket attraverso i luoghi dell’elettronica romana I. Il laboratorio dell’Accademia Filarmonica, la Fonolux e il Fonosynth 25 I. Il Synket, ponte tra cinema e live electronics 36 II. La difficile identità dello Studio R7 44 ｜2｜ Suono organizzato 49 Risorse elettroacustiche, assetti produttivi e strategie drammaturgiche al cinema I. Fonosynth e Synket come estensioni dell’orchestra 58 II. Tra rigore e gioco. Gino Marinuzzi jr., compositore per il cinema e la televisione 64 III. Verso una ridefinizione del suono cinematografico? 80 IV. Vittorio Gelmetti e la musica-verità 95 Maurizio Corbella ｜3｜ Alla ricerca di un immaginario 105 Funzioni culturali del suono elettroacustico nel cinema narrativo I. Sintesi sonora e fonografia nell’immaginario: estensione e spettro 113 II. Genesi dell’immaginario: vibrazione, inscrizione, emulazione, trasmissione 118 III. L’immaginario negli anni Sessanta: dal suono del futuro al suono del presente 126 ｜4｜ «Lo sfondo ai sentimenti di domani» 133 Percorsi tematici e proposte critiche sull’immaginario elettroacustico nel cinema italiano I. Funzioni narrative del suono elettroacustico: automatismo 137 II. Cibernetica, musica e cinema: aspetti di una “triangolazione” affascinante 148 III. Teitelbaum, Ferreri e il biofeedback: il suono dell’uomo e Il Seme dell’uomo 151 IV. Il deserto elettronico di Antonioni. La musica elettronica e lo sguardo sperimentale 158 V. Un tranquillo posto di campagna di Petri. Cortocircuito tra pop e avanguardia 168 VI. La sostanza di cui sono fatti i sogni. Primi appunti per una drammaturgia del suono felliniano 188 6 Musica elettroacustica e cinema in Italia negli anni Sessanta ｜Appendice I ｜ Conversazione con Federico Savina 215 ｜Appendice II｜ Paolo Ketoff presenta il Synket 225 ｜Appendice III｜ Filmografia di Gino Marinuzzi jr. 229 ｜Riferimenti bibliografici｜ 237 •Fondi e archivi di riferimento 237 • Bibliografia 239 • Filmografia citata 257 7 a Michela e ai miei genitori Ringraziamenti Ringraziare le persone che hanno reso possibile la mia ricerca non è solo un atto di dovuta cortesia, ma un riconoscimento agli stimoli umani che mi hanno arricchito al di là del merito contingente di questo lavoro. Sincera gratitudine va a coloro che hanno messo il loro tempo a mia disposizione, ripercorrendo vicende personali proprie o dei propri cari, met- tendomi nelle condizioni di visionare documenti, scambiare considerazioni, formarmi un’idea articolata riguardo al periodo storico in esame, oltre a im- preziosire il mio racconto con aneddoti e retroscena: Walter Branchi, John Eaton, Andrea e Fulvia Ketoff, Liana Santarone Marinuzzi, Güngör Mima- roglu, Ennio Morricone, Caterina Nascimbene, Federico Savina, Romano Scavolini, Pril Smiley, Roman Vlad. Tra essi, sono particolarmente grato ad Anna Maria Marinuzzi, sempre prodiga di disponibilità e ospitalità. Tra gli studiosi e gli operatori che hanno saputo indirizzare il mio la- voro, fornendo indispensabili indicazioni metodologiche e documentarie o confrontandosi con me sul lavoro in corso d’opera, ringrazio: Sergio Basset- ti, Stephen Blum, Gianmario Borio e il gruppo di studio WorldsofAudioVi- sion, Alessandra Ciucci, Ermanno Comuzio, Marco Esposito (Camera di Commercio di Roma), Ann Horton-Line (Yale Film Study Center), Harald Kisiedu, Andrew Lampert (Anthology Film Archives), Francesco Libetta, Sergio Miceli, Maria Maddalena Novati (Studio di Fonologia di Milano), Terence Pender (Columbia Computer Music Center), Stefano Poggelli (Rai Teche), Veniero Rizzardi, Warren M. Sherk (Academy of Motion Pictures, Arts, and Sciences), Daniela Tortora, Jed Winokur e Richard Trythall (Ame- rican Academy in Rome), Leonardo Zaccone. Un pensiero a parte va a An- tonio Ferrara, Paul B. Price e Roberta Vespa, generosi ospiti delle mie “pe- regrinazioni”. Infine, vorrei esprimere la mia profonda riconoscenza, piena di stima e amicizia, a Davide Daolmi, Cesare Fertonani, Emilio Sala e Nicola Scalda- ferri, che hanno svolto un ruolo fondamentale di confronto critico e di soste- gno alla mia attività. ｜Introduzione｜ Considerazioni metodologiche La cellula biolettrica agisce magneticamente sul fondo culturale comune... Entrano in gioco anche i complessi freudiani, in certa misura... Si crea una catena di cariche elettromagnetiche... la cellula biolettrica mia con la tua, con la sua... Niente acqua, per carità di Dio... vino... Cara signora, sono espe- rienze assolutamente sconsigliabili, agiscono negativamente sul sistema nervoso...1 A pronunciare questo passaggio di dialogo, estrapolato da una sceneggiatura preparatoria di Giulietta degli spiriti di Federico Fellini, è il personaggio di Don Raffaele, medico e amico di famiglia di Giulietta, che viene consultato dalla donna in merito ad alcune visioni paranormali che l’avevano turbata la sera precedente, nel corso di una seduta spiritica organizzata tra amici. Il conte- sto in cui avviene questo dialogo è quello di una chiacchierata leggera, men- tre i personaggi, attorniati da una piacevole compagnia, si rilassano sulla spiaggia di Fregene appena fuori dalla casa di Giulietta. La battuta di Don Raffaele ha la funzione di minimizzare il racconto della donna, facendo sfoggio di un repertorio di nozioni che oscillano tra la medicina, la sapienza da osteria e un’infarinatura di parapsicologia. Fellini è sicuramente animato da intenzione ironica, il personaggio del dottore è caricaturale, eco probabi- 1 FELLINI [1965], p. 39. Maurizio Corbella le di qualche trascorso biografico del regista, chissà se verificatosi durante le sedute spiritiche alle quali pare prendesse parte nel periodo del concepimen- to del film.2 Dal momento in cui sono entrato in contatto con tale passaggio dialo- gico, che non sopravvive nella versione del film uscita nelle sale, ho avuto la sensazione di intuire la direzione verso cui indirizzare la mia ricerca, sebbe- ne non mi fosse ancora del tutto chiaro razionalmente in che modo farlo. La mia ricerca era infatti partita, come spesso accade in casi simili, da una con- statazione tra l’empirico e l’istintivo: il fenomeno della presenza di sonorità e musiche elettroacustiche nel cinema italiano degli anni Sessanta riveste un interesse che va al di là del mero adeguamento a una moda lanciata oltre- oceano da film come Pianeta proibito (1956).3 Soprattutto, mi pareva interes- sante che le procedure elettroacustiche (sintesi e processo sonori, manipola- zione del supporto magnetico), introdotte in Italia da pochissimi anni in campo musicale (la fondazione dello Studio di Fonologia di Milano è del 1955), fossero state assorbite dal cinema italiano praticamente da subito, se- condo modalità che non sono del tutto sovrapponibili al repertorio di con- venzioni del cinema d’oltreoceano. Sequenze poco note come i titoli di testa dell’Antigone televisiva di Vittorio Cottafavi (1958), “il sogno di Nane” in L’Italia non è un paese povero di Joris Ivens (1960), altre più celebri come l’incipit della Notte e del Deserto rosso di Michelangelo Antonioni (1961-1964), le stesse visioni di Giulietta nel film citato sopra (1965), sono manifestazioni di stilemi che non si prestano a essere ricondotte serenamente a stereotipi o cliché, da- to che, perché un cliché esista, è necessario almeno che abbia avuto il tempo di sedimentarsi nell’uso. Orbene, la sequenza immediatamente successiva allo scambio di bat- tute tra Giulietta e don Raffaele, vede Giulietta assopirsi sulla sdraio e co- minciare a sognare; nel sogno trascina a sé, tramite una gomena, uno zatte- rone che giunge dal mare, carico di guerrieri dalle fattezze orientali e di figu- re umane grottesche seminude che “invadono” il suo mondo, finché il rumo- re di un aeroplano non la sveglia riportandola alla “realtà”, proprio quella realtà sui cui contorni, da quel momento in poi, lo spettatore non avrà più certezze per tutto il corso del film. La caratterizzazione sonora dalla sequen- za è dominata da una sorta di risonanza continua, realizzata mediante l’im- piego di una semplice onda sinusoidale prodotta con un elementare proce- dimento di sintesi. Tale oggetto sonoro rappresenta l’affascinante anello di 2 KEZICH 2002, pp. 249-251. 3 Quando possibile citerò i film stranieri con il titolo della loro edizione italiana, ri- mandando alla Filmografia citata in coda a questo scritto per maggiori informazioni, compreso il titolo originale. 14 Musica elettroacustica e cinema in Italia negli anni Sessanta congiunzione con il riferimento, nella battuta espunta di Don Raffaele, alla «cellula biolettrica [che] agisce magneticamente sul fondo culturale comu- ne». L’oggetto sonoro elettronico diventa in Fellini la manifestazione feno- menica dell’energia medianica della protagonista, e insieme esprime, più indefinitamente e forse per questo più efficacemente rispetto alle battute di un dialogo, le connotazioni implicate dall’idea di elettromagnetismo nel- l’universo espressivo del regista: qualcosa di portentoso, magico,
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