Simetrias, repetições e variações - Analogias de "Um condenado à morte escapou" deBresson com a "Missa em dó menor"de Mozart

• Autores: Luiza Beatriz Amorim Melo
• Localización: Avanca / Cinema 2012 / Cine Clube de Avanca (dir.), 2012, ISBN 978-989-96858-2-6, págs. 360-367
• Idioma: portugués
• Texto completo no disponible (Saber más ...)
• Resumen

  • In the films of French director Robert Bresson, pre-existent classical music was frequently utilized, especially in filmsof an intermediary phase of his career, like A man escaped, Pickpocket and Au hazard Balthazar, whose musicalparts guard a formal relation with the original piece.In A man escaped, short choral and instrumental parts from the Kyrie of Mozart ́s C-minor Mass are symmetricallydistributed in the film: the chorus at the beginning, in the middle and at its very end, separated by the same five barsof the instrumental introduction, which recalls the very symmetry of Mozart ́s Classicism. We can see that Bressonutilize musical principles, like repetition (the instrumental part) and variation (by the use of slightly different choralparts). If we take a conception proposed by Claudia Gorbman, we could say that Bresson was an auteur in his useof music.Moreover, in the music of this film is symbolized the conflict of its main character, Fontaine, a resistant who isimprisoned during the Second World War in a fortress in Lyon and who has to pass from solitude to communicationwith the others in order to escape. The new community of prisoners is represented by the collective parts of themusic – orchestral and choral -, which accompany the “procession” of prisoners in the court and the escapes, whilethe individual moment of the soprano solo is never heard.