I Love Films
[quote]Kazuo Ohno (大野 一雄 Ōno Kazuo, October 27, 1906 – June 1, 2010) was a Japanese dancer who became a guru and inspirational figure in the dance form known as Butoh. It was written of him that his very presence was an "artistic fact."[/quote]
In Werner Schroeter's Die Generalprobe
[youtube=https://www.youtube.com/watch?v=UG-YYAHPv3Y]
Here's an informative review of this hard to see film which google translated for me.
http://somedirtylaundry.blogspot.com/2009/05/die-generalprobe-werner-schroeter-1980.html
[quote]The dress rehearsal, Werner Schroeter, 1980
On paper, this is a documentary about a theater festival in Nancy, about a theater festival of a sort (countercultural, vulgar-legal osa, I know) that would make me even wider than I would be to theater (festivals) in general already do it anyway. How could this movie have taken me so much?
First and foremost: I do not know. But maybe it has something to do with the fact that Schroeter's film frees the theater of everything that its ambience or dispositive is. The camera occupies different positions to the actor's act / body, but never the audience's. Not only does Schroeter film the artists, but the people he also films are those who have as little to do with the festival as an environment: filming a clochard or a teenager casually posing in front of a tarpaulin. Schroeter is least interested in the audience in the theater. At the end of the film, it makes itself felt, only acoustically through the applause,
That in the last shot the audience appears (and that it appears exactly as it appears) marks the film finally as a melancholy, as one about disillusionment. From Syberberg's Hitler film, with the dress rehearsalI have not yet seen, but already in this film makes the off-commentary pessimism, a pessimism, which refers to Germany, but not only to Germany and especially not to Germany as home. Over the soundtrack, gloomy time diagnoses like an ice-gray veil lay over the beautiful pictures again and again. Perhaps the real reason for this pessimism, which in the course of the film is fixed on the war, sometimes on the nature that is lacking, sometimes on the love that is missing, in fact lies in the fact that the film ends up with the idea has to accept the audience-as-pattern. An audience that is a thousand times inferior to the camera, that does not have to remain a physically and architecturally fixed audience and all the transgressions that succeed Schroeter's film,
Of all the Schroeter films that I have seen in this series (and thus at all), this one has been my favorite, together perhaps with the other documentary, The Waste of Love . The feature films I once found interesting and beautiful ( Willow Springs ), sometimes just strange (strange-fascinating: The Rose King , rather strange-no matter: Nuit de Chien ), times simply unbearable ( Malina). Maybe the Schroeter Cinema actually needs something to break and work off with all its obsessions. Maybe it needs bodies and voices that are, to a degree, outward. It then sets out to quickly transform these bodies and voices, but the real attraction is probably that this transformation never quite succeed. Or only in exceptional cases, such as in the incredibly great last scene of waste products of love . And in the moment of success, in the moment in which the voice of the opera recording is absorbed by the body of the singer, the film comes to its fulfillment, has quite logically done itself and changes to the black image.[/quote]
I personally didn't like "Waste of Love" .... and it's weird how there's at least 3 of his films where it's been said it was his own favorite. 🤔
Schroeter at his best that i've seen, encapsulates the aesthetic of operatic emotions .... Schopenhauer, who disliked opera may have changed his mind if he could have glimpsed into the future and seen some Schroeter.
I ask myself why does the reviewer like Waste of Love so much, it was so utterly normal, like something PBS would air. Malina is superb, Willow Springs is visually impeccable, Malibran is one of Schroeter's other favorite along with Goldflocken.
[youtube=https://www.youtube.com/watch?v=D_YPQxUxKk4]
In Werner Schroeter's Die Generalprobe
[youtube=https://www.youtube.com/watch?v=UG-YYAHPv3Y]
Here's an informative review of this hard to see film which google translated for me.
http://somedirtylaundry.blogspot.com/2009/05/die-generalprobe-werner-schroeter-1980.html
[quote]The dress rehearsal, Werner Schroeter, 1980
On paper, this is a documentary about a theater festival in Nancy, about a theater festival of a sort (countercultural, vulgar-legal osa, I know) that would make me even wider than I would be to theater (festivals) in general already do it anyway. How could this movie have taken me so much?
First and foremost: I do not know. But maybe it has something to do with the fact that Schroeter's film frees the theater of everything that its ambience or dispositive is. The camera occupies different positions to the actor's act / body, but never the audience's. Not only does Schroeter film the artists, but the people he also films are those who have as little to do with the festival as an environment: filming a clochard or a teenager casually posing in front of a tarpaulin. Schroeter is least interested in the audience in the theater. At the end of the film, it makes itself felt, only acoustically through the applause,
That in the last shot the audience appears (and that it appears exactly as it appears) marks the film finally as a melancholy, as one about disillusionment. From Syberberg's Hitler film, with the dress rehearsalI have not yet seen, but already in this film makes the off-commentary pessimism, a pessimism, which refers to Germany, but not only to Germany and especially not to Germany as home. Over the soundtrack, gloomy time diagnoses like an ice-gray veil lay over the beautiful pictures again and again. Perhaps the real reason for this pessimism, which in the course of the film is fixed on the war, sometimes on the nature that is lacking, sometimes on the love that is missing, in fact lies in the fact that the film ends up with the idea has to accept the audience-as-pattern. An audience that is a thousand times inferior to the camera, that does not have to remain a physically and architecturally fixed audience and all the transgressions that succeed Schroeter's film,
Of all the Schroeter films that I have seen in this series (and thus at all), this one has been my favorite, together perhaps with the other documentary, The Waste of Love . The feature films I once found interesting and beautiful ( Willow Springs ), sometimes just strange (strange-fascinating: The Rose King , rather strange-no matter: Nuit de Chien ), times simply unbearable ( Malina). Maybe the Schroeter Cinema actually needs something to break and work off with all its obsessions. Maybe it needs bodies and voices that are, to a degree, outward. It then sets out to quickly transform these bodies and voices, but the real attraction is probably that this transformation never quite succeed. Or only in exceptional cases, such as in the incredibly great last scene of waste products of love . And in the moment of success, in the moment in which the voice of the opera recording is absorbed by the body of the singer, the film comes to its fulfillment, has quite logically done itself and changes to the black image.[/quote]
I personally didn't like "Waste of Love" .... and it's weird how there's at least 3 of his films where it's been said it was his own favorite. 🤔
Schroeter at his best that i've seen, encapsulates the aesthetic of operatic emotions .... Schopenhauer, who disliked opera may have changed his mind if he could have glimpsed into the future and seen some Schroeter.
I ask myself why does the reviewer like Waste of Love so much, it was so utterly normal, like something PBS would air. Malina is superb, Willow Springs is visually impeccable, Malibran is one of Schroeter's other favorite along with Goldflocken.
[youtube=https://www.youtube.com/watch?v=D_YPQxUxKk4]
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