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[The following is quotation. Image credits below. I am grateful to the source.]
Dance Walk
Vincente Minnelli
The Bandwagon
Gilles Deleuze
Cinema 2: The Time Image
Cinéma 2: L'image-temps
Chapter III. From Recollection to Dreams: Third Commentary on Bergson
Chapitre III. Du souvenir aux rêves (troisième commentaire de Bergson)
3c: The Implied Dream': movements of world
3c: Le « rêve impliqué » : les mouvements de monde
But what counts is the way in which the dancer's individual genius, his subjectivity, moves from a personal motivity to a supra-personal element, to a movement of world that the dance will out-line. This is the moment of truth where the dancer is still going, but already a sleepwalker, who will be taken over by the movement which seems to summon him: this can be seen with Fred Astaire in the walk which imperceptibly becomes dance (Minnelli's Band Wagon) [Deleuze Cinema 2, 1989:58d]
Mais, ce qui compte, c'est la manière dont le génie individuel du danseur, la subjectivité, passe d'une motricité personnelle à un élément supra-personnel, à un mouvement de monde qui la danse va tracer. C'est le moment de vérité où le danseur marche encore, mais déjà somnambule qui va être possédé par le mouvement qui semble l'appeler : on le trouve chez Fred Astaire dans la promenade qui devient danse insensiblement (« The Bandwagon » de Minnelli) [Deleuze Cinéma 2, 1985:83b]
Deleuze, Gilles. Cinema 2: The Time Image. Transl. Hugh Tomlinson and Robert Galeta. London & New York: 1989.
Deleuze, Gilles. Cinéma 2: L'image-temps. Paris:Les éditions de minuit, 1985.
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