舞蹈和介导沉浸流在卡洛斯·绍拉的音乐混合与现场饲料

IF 0.1 0 FILM, RADIO, TELEVISION
Fátima Chinita
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引用次数: 1

摘要

卡洛斯·绍拉(Carlos Saura)所称的“纯粹音乐剧”高度依赖于图像的形式属性和在极简主义景观空间中对光线的表现力运用。虽然,它们还没有被宣布为屏幕作品(根据Rosenberg 2012),它们将有节奏的身体动作与基于屏幕的技术媒介渲染方法结合在一起,但它们是成熟的屏幕例子,是混合的,共生的,整体的(Richard James Allen, 2006)。本文主要关注2005年以来萨拉的音乐剧——弗拉门戈(1995),伊比利亚(2005),法多斯(2007),弗拉门戈弗拉门戈(2010),阿根廷(Zonda, folclore argentino, 2015)和Jota de Saura(2016)——特别是通过使用实时视频馈馈线作为中间感官设备进行沉浸式调解。索拉的柔滑、光滑、有光泽的图像形成了一个光学-触觉连续体。在吉尔·德勒兹(Gilles Deleuze)对现代电影的感知中,双重身体、数字替身和骨肉充当了结晶的诱导者,因为它们在电影流中相互作用和交替,形成了一个回路。因此,一个记录的舞台表演图像进入了与电影的关系,一种已经被赋予反思特征的媒介,产生了这些银幕电影的结晶,所有这些电影都是沉浸式的和感性的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Dance and the Mediated Immersive Flux in Carlos Saura’s Musical Hybrids with Live Feed
Abstract Carlos Saura’s “pure musicals,” as he calls them, are highly based on the formal properties of the image and the expressive use of light in a minimalist scenic space. Although, they have not been declared screendance pieces (as per Rosenberg 2012), which conjoin rhythmic body movements with screen-based, technologically mediated methods of rendering, they are full-fledged screendance examples, being hybrid, symbiotic, and integral (Richard James Allen, 2006). This article concentrates on Saura’s musicals from 2005 onwards – Flamenco (1995), Iberia (2005), Fados (2007), Flamenco Flamenco (2010), Argentina (Zonda, folclore argentino, 2015) and Jota de Saura (2016) – particularly the immersive mediation operated through the use of live video feed as an intermedial sensorial device. Saura’s silky, glossy, and lustrous images form an optical-haptic continuum. The twofold bodies, the digital doubles and the flesh-and-bone act as inducers of crystallization in Gilles Deleuze’s perception of modern cinema (1985), inasmuch as they interact and alternate in a cinematic flux, forming a circuit. Thus, an image of a recorded stage performance enters into a relationship with cinema, a medium already endowed with reflective features, producing the crystallization of these screendance films in all their Saurian immersivenness and sensoriality.
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