|
馮慧瑛 Gillian Feng
整理於 Dec. 22, 1997
|
1. St. Jerome
by Georges de la Tour, 1593-1652(Prospero, the old man)
2. The Doge
Leonardo Loredan by Giovanni Bellini, c1434-1516 (Prospero, the magician)
3. An Allegory with
Venus and Cupid by Agnolo Bronzino, 1503-1572(Ariel, the boy)
4. The Nymph
Galatea by Raffaello Santi Raphael, 1483-1520 (Ariel like Cupid)
5. Primavera
by Sandro Botticelli, 1445-1510 (Miranda)
6. Portrait of
Maerten Soolman by Rembrandt Harmensz van Ryn, 1606-1669 (the Neapolitans)
7. Portrait of Man
by Rembrandt (the Neapolitans)
8. Marie de Medici
by Sir Peter Paul Rubens, 1577-1640 (the nymphs in the water)
9. Pornokrates
by Felicien Rops, 1833-1898
10. St. Jerome in his
Study by Anotonello da Messina, (Prospero's study)
11. The Atrium of the
Lauernziana Library by Michelangelo Buonarroti, 1475-1564 (Prospero's library)
12. Leda by Antonio
Allegri Correggio, c1489-1534 (Leda and swan)
13. Raft of the Medusa
by Theodore Gericault, 1791-1824
14. The Birth of Venus
by Sandro Botticelli (the pair of Wind Gods in the library)
15. Wedding Feast at
Cana by Paolo Veronese, 1528-1588 (the banquet in the Milan)
16. Feast in the House of
Levi by Paolo Veronese (the banquet in the Milan)
17. Surrender of Breda
by Diedo de Silvay Velazquez, 1590-1660 (the invasion of the Neapolitan soldier)
18. the title page of the first edition of De Humanis Corporis Fabrica
by Andreas Vesalius, 1516-1564
(the anatomy of the body)
19. The Harvesters
by Pieter Bruegel, c1525-1569 (the cornfield)
20. Park of a Castle
by Sir Peter Paul Rubens (the sky above the cornfield)
21. Baccus and Ariadne
by Tiziano Vecellio Titian, c1488-1567
22. Midas and Bacchus
by Nicholas Poussin, 1594-1665
23. Pieta by
Michelangelo Buonarroti (Miranda and Firanda on the stairs outside the library)
24. The Ancient of Days
by William Blake, 1757-1827 (Ariel's drawing the circle)
25. the cover of the biography on Robert Fludd, 1574-1637
(Man's relationship with the cosmos)
26. the scenes in the film which illustrate the concept of "frame"
Griffiths, Paul. Modern Music: A Concise History. Revised edition.
New York: Thames and Hudson, 1994.
Radcliffe, Jeffrey M. "Minimalism: A Survey of Four Major Composers and Their
Styles to 1974." http://www.geocities.com/Vienna/2415/development.html
1. visual arts: minimalism stressed simplicity, directness, and precision of form and
presentation. The basic idea behind
a work was all-important, and minimalist art was more a process than a
finished product.
2. in theater: avoiding the complications of plot and narrative techniques in favor of
portraying a sequence of soul states
expressed in fragments of speech and inarticulate sounds, without
logical organization. Ex. Samuel Beckett
I. minimalism music: 1960s-1970s, a back-to-basic movement.
Radcliffe: musical style known as minimalism is an American phenomenon that
began in the late 50s' and ended
in 1974
A. A return to tonality, square rhythmic patterns, basic harmonies,
elementary counterpoint,
and simple repetitive forms.
B. Not concern so much with structural principles as with how the music sounds
C. the use of the commonplace and the musical cliche
D. The origins: partly from rock and pop, another significant source: La Monte
Young (b.1935)—unusually few
and long notes, concerning with protracted
states and processes, producing not definable music but musical
environments offering harmonious for
meditation, from Asian musical practice and from Indian singing.
E. The first phase: a spirit of discovery
1. the discovery of models in extra-European music. Ex: La
Monte Young—Indian singing, and Steve Reich—
the drumming in West Africa.
2. The discovery of how extended musical structures could
be created out of rudimentary ideas. Ex: Steve Reich
and Philip Glass—interesting in gradual
process of change, such as the progressive filling-in of rests by
sustained sound in Steve Reich's
Four Organs (1970) or the "phasing" process, by which two or more lines
repeating the same simple pattern
were shifted against each other, moving in and out of phase.
F. Some musicians who made minimalism music:
1. La Monte Young: drone style
a) Trio for Strings (1958)—consisting
of long, sustained tones interspersed with equally long rests
b) Piano Piece for David Tudor
#1 (1960)
c) Compositions 1960 #7
(1960)
d) The Four Dreams of China
(1962)—especially, the second part The Second Dream of the
High-Tension Line Stepdown Transformer—"drone music"
2. Karlheinz Stockhausen: using minimal material and an
extended time-scale in order to induce meditative
receptiveness
a) Stimming
b) Mantra
c) Inori
3. Terry Riley: repetition, a constant pulse
a) In C (1964)
b) Poppy Nogood and His Phantom
Band (1968)
c) Rainbowin Curved Air
(1969)
4. Steve Reich: phase process
a) Reich's sound world was always
more delicate and natural
b) A very important aspect of
Reich's approach to Minimalism is his strict adherence to a process, be it
phasing,
augmentation or anything else.
c) Reich's works:
(1) Music
for the Gift
(2) It's
Gonna Rain (1965)
(3) Drumming
(1971): Reich travel to Ghana to study Afican drumming
(4) Telihm
(1981)
(5) The
Four Sections (1987)
(6) The
Desert Music (1984)
(7) Different
Trains (1988)
(8) City
Life (1995)
5. Philip Glass: influenced by Indian compositional
techniques (Indian sitar) of additive process and cyclic rhythm—
"wheel within wheel"
a) "My background is in the
recent tradition of non-literary theater in America in which people draw their
inspiration
not from a text but an idea, a drawing, a poem, or an image."
b) Glass prefers the rock-style
amplification.
c) Glass's works:
(1) String
quartet No. 1 (1966)
(2) Music
in the Shape of a Square (1967)
(3) Music
with the Changing Parts (1973)
(4) Music
in 12 Parts (1971-4)
(5) Einstein
on the Beach (1976): a work in panels of musical and scenic imagery with virtually no
narrative.
(6) Satyagraha
(1980)
(7) Akhnaten
(1984)
(8) Voyage
(1992)
(9) La
Belle et la Bete (1995): based on Jean Cocteau's film
6. John Adams: Nixon in China (1987)
7. Morton Feldman, Luigi Nono, Gyorgy Kurtag, and Wolfgang
Rihm
***
1. Greenaway worked with Michael Nyman, the music did not come after, or simply match, the
action or images.
It was introduced as a component in its own right, linked rather to the
intellectual structures of the film than
to individual characters. (Woods 203)
2. Artifice requires that we be consciously aware of music as an element in the film.
(Woods 203)
3. The music Greenaway likes is "spatialised," repetitive music, as his
narrative are spatialised, repetitive. (Woods 204)
Baudrillard, Jean. "The Trompe-L'oeil." Calligram: Essays in
New Art History from France. Ed. Norman Bryson.
Cambridge Univ Pr, 1988.
1. Trompe-L'oel 欺眼畫：the vertical field, the absence of a horizon and of
any kind of horizontality(utterly different
from the still life), a certain oblique light that is unreal, the
absence of depth, a certain type of object (the exclusive
presence of banal object; everyday objects), a certain
type of material, and the "realist" hallucination that gave it
its name.
2. It derived from metaphysics.
3. It is opposed to painting as the anagram is opposed to literature.
4. There is no fable, no narrative, no plot, and no characters.
5. It forgets the grand themes and distorts them by means of the minor figuration of
some object .
6. These objects are blank signs, empty signs, speaking an anticeremonial
and antirepresentation.
7. They don't have syntax, are juxtaposed by the mere chance of their presence.
8. These everyday objects are opposed in their unreal reversion to the whole
representative space elaborated by
the Renaissance.
9. In trompe-l'oeil, all is artefact; the vertical field constitutes objects
isolated from their referential context as pure signs.
10. The only relief is anachrony—an involutive figure of time and space.
11. These objects: suspense, translucidity, disuse, fragility, a certain culturality
without history. All the minor signs of
culture such as books, letter, watches or clocks all vanish
into the realm of the everyday .
12. still life: carnal, disposed across the horizontal plane of the ground or of a table,
preserves the weight of real things,
marked out by horizontality, while trompe-l'oeil plays on
weightlessness marked but by the vertical field.
13. Reality appears only as a vertigo of the sense of touch ("vertige touch")—mirror—under
the forms of anodyne
objects, is the appearance of the Double that
creates the characteristically gripping effect of trompe-l'oeil.
14. The objects of trompe-l'oeil preserve the same fantastic pregnancy—that of the
discovery of the mirror image
by the child.
15. The tactile hallucination is not that of objects but of death. Childhood, the
Double, preexistent life, death—every
composition in trompe-l'oeil contributes to the effect of
loss, a sense of losing hold on the real through the very
excess of its appearance.
16. Trompe-l'oeil is the ironic simulacrum of the wholly new and western reality
that emerges triumphantly in the
Renaissance. (cf. Surrealism)
17. What is important in trompe-l'oeil is the production of a simulacrum.
18. In trompe-L'oeil the effect of perspective is somehow thrown forward. It is the
objects that by a kind of "interior"
relief, "fool" the eye. These objects
counteract the privileged position of the gaze. No horizon, it is an opaque
mirror held before the eye, and there is nothing behind it.
Nothing to see: it is things that see you.
19. People believe that seeing and touching make reality, but actually "touch"
is only a metaphor of that sense of being
"gripped.'
20. Trompe-l'oeil like stucco can do anything, mime anything, parody anything. It is
no longer painting, but a
metaphysical category—in the face of reality and against
it.
21. It is the same to the politics and religion. The whole exterior space of the
palace, the city, and the political power
is perhaps nothing more than the effect of perspective.
The theologians alone knew that God did not exist—that
was their secret and their strength.
IV. Peter Greenaway's Prospero's Books
I. language: word / image
A. Propero's speaking for the characters in his the Tempest.
Prospero's voice is ubiquitous (Lawrence 147)
1. father / author / power: Prosper as the father,
Prosper as the author vs. Shakespeare, Greenaway, St. John Gielud
a. Prospero: father of
Miranda, Firando, and Ariel
B. interaction of oral / written and sound / image: ex: "Bosun" a
word never been written. "Boatswain"
1. written word: logical, marrative, but no magic,
dead, fixed, not dynamic, categorized like the books.
II. frame: picture, window, book, sound (Prospero's voice), screen (like TV), play within a play (stage)
III. body, words as signs
IV. image: water, mirror, color, Indians
V. Character: Caliban, Miranda, Ferinard (Jesus)
VI. Question for discussion:
1. Does Greenaway stress his position as a father like what
Lawrence suggests?
2. Does Prospero ever lose control of his characters?
3. Who is the author? In the end, Prospero seems to
appeal to let him free, too. Therefore, Greenaway is the
real author who confines
Prospero in the film?
