Publication: Imágenes y pensamientos esenciales sobre la Doncella de Orléans: Dreyer y Bresson
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2011
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T&B editores
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Abstract
En este trabajo se hace una aproximación a la figura de Juana de Arco en las películas de Carl Theodor Dreyer (1928) y de Robert Bresson (1961). Ambos parten de las Actas del Proceso Inquisitorial, pero no pretenden una reconstrucción histórica sino mostrar los dilemas de conciencia y el sufrimiento de un alma injustamente acusada. Lo hacen con una austera economía narrativa y con un radical despojamiento formal. Sin embargo, son dos estéticas dispares con las que pretenden expresar el drama y el dolor, junto a la duda y la paz de un espíritu noble, y también la inefable manifestación de Dios que se refleja en el rostro de la Doncella o por medio del fuera de campo. De esta manera, logran unas imágenes esenciales y auténticas que parten de lo material para llegar hasta lo espiritual por la abstracción, y un lenguaje propio que se distancia del teatro con formas cinematográficas que evocan lo trascendente y que invitan al espectador a la reflexión. El resultado es un testimonio vivo que recoge el sentir de una época y el de una mujer que ansiaba la libertad interior.
A portrait of Joanne of Arc as viewed by Carl Theodor Dreyer (1928) and Robert Bresson (1961). Despite both starting from the Records of the Inquisition’s process, they aim not for a historical reconstruction but try to show Joanne’s conscience’s dilemmas and the sufferings of her unjustly accused soul. Both films’ narrative is sparing and both are formally divested in a radical way. However, their aesthetic standpoint differ, each one having a singular way of expressing pain, doubt and the spiritual peace of her soul using either the mysterious epiphany of God on the Maid’s countenance or by means of the offscreen, both strictly cinematographic resources unavailable in theater. Essential and honest images starting from matter to end up in the spiritual by means of abstraction, a specific language away from theater using cinematographic formalisms which evoke transcendence and invite the audience to reflection. This way, both filmmakers can gather the epoch’s and the Maid’s sensitivity and her longing for interior freedom.
A portrait of Joanne of Arc as viewed by Carl Theodor Dreyer (1928) and Robert Bresson (1961). Despite both starting from the Records of the Inquisition’s process, they aim not for a historical reconstruction but try to show Joanne’s conscience’s dilemmas and the sufferings of her unjustly accused soul. Both films’ narrative is sparing and both are formally divested in a radical way. However, their aesthetic standpoint differ, each one having a singular way of expressing pain, doubt and the spiritual peace of her soul using either the mysterious epiphany of God on the Maid’s countenance or by means of the offscreen, both strictly cinematographic resources unavailable in theater. Essential and honest images starting from matter to end up in the spiritual by means of abstraction, a specific language away from theater using cinematographic formalisms which evoke transcendence and invite the audience to reflection. This way, both filmmakers can gather the epoch’s and the Maid’s sensitivity and her longing for interior freedom.
Description
Actas del Segundo Congreso Internacional de Historia y Cine organizado por el Instituto de Cultura y Tecnología Miguel de Unamuno y celebrado del 9 al 11 de septiembre de 2010 en la Universidad Carlos III de Madrid
Keywords
Cine, Dreyer, Carl Theodor(1889-1968), Bresson, Robert (1901-1999), Juana de Arco, Santa, Lenguaje cinematográfico, Conciencia
Bibliographic citation
La biografía fílmica: actas del Segundo Congreso Internacional de Historia y Cine (2, 2010, Madrid)[cd-rom]. Gloria Camarero (ed.). Madrid: T&B editores, 2011, pp. 646-676