Robert Bresson 『Bresson on Bresson: Interviews 1943-1983』 ed. by Mylène Bresson / tr. by Anna Moschovakis

「I see her as a superior being. She convinces us, more than miracles do, of the existence of another realm she was able to access with unparalleled ease.」
(Robert Bresson 「Emotion Should Be Our Only Guide」 より)


Robert Bresson 
『Bresson on Bresson:
Interviews 1943-1983』

Edited by Mylène Bresson
Translation from the French by Anna Moschovakis
Preface by Pascale Mérigeau

New York Review Books, New York, 2016
xv, 285pp, 23.6x16cm, hardcover, dust jacket
Jacket design: Katy Homans



ロベール・ブレッソン、インタビュー集成。
仏語原著は2013年フラマリオン刊、本書はその英訳です。
紙装上製本、カバー(ダストジャケット)付。
本文中図版(モノクロ)多数。


bresson on bresson 01


Contents:

Preface (Pascale Mérigeau)

PART ONE: Public Affairs, 1934
Prelude

PART TWO: Angels of Sin, 1943
It Takes an Auteur
Jean Giraudoux

PART THREE: Les Dames du Bois de Boulogne, 1945
Scandals and Shocks
Interiority Leads the Way
Jean Cocteau
The Festival du Film Maudit

PART FOUR: Diary of a Country Priest, 1951
Between These Two Worlds
It's the Impossibility That Attracts Me
To See and To Hear
As I Would Write a Poem

PART FIVE: A Man Escaped, 1956
The Wind Blows Where It Wants To
A New Means of Expression

PART SIX: Pickpocket, 1959
A Film Made of Hands, Objects, and Glances
A Film's Rhythm Should Be Like the Beating of a Heart
To Capture Only What Is Real
To Get to the Mystery
Poetry and Truth Are Sisters

PART SEVEN: The Trial of Joan of Arc, 1962
This Familiarity with the Palpably Supernatural
I Know of Nothing More Attrocious or More Poignant
It's What the Film Wanted
Emotion Should Be Our Only Guide
Joan of Arc Was Beautiful, Elegant, Approachable, Modern
To Make Her Real, To Bring Her Close
If You Want the Current to Flow, You Have to Strip the Wires

PART EIGHT: Adaptation
Aspects of Dramatic Creation

PART NINE: Au Hasard Balthazar, 1966
A Donkey in All Its Purity, Its Tranquility, Its Serenity, Its Sanctity
The Freest Film I've Made, the One to Which I've Given the Most of Myself
To Create Life Without Copying It
The Beaten Path

PART TEN: Mouchette, 1967
More in the Manner of Portraitists
Something Else I Like in Bernanos: His Supernatural Is Constructed from the Real
Looks That Kill

PART ELEVEN: The Sound Track
The Ear Is Far More Creative Than the Eye

PART TWELVE: A Gentle Woman, 1969
The Confrontation Between Death and Life
I Am Here, the Other Is Elsewhere, and the Silence Is Terrible

PART THIRTEEN: Four Nights of a Dreamer, 1972
Art Is Not a Luxury, But a Vital Need
Between Blue and Brown
I Look for Surprises

PART FOURTEEN: Lancelot of the Lake, 1974
To Bring the Past into the Present
It Was Lancelot's Very Particular Inner Adventure That I Found Striking
Torn Between Fidelity and Felony
The Sound of Iron
The Grail

PART FIFTEEN: Notes on the Cinematograph, 1975
You Strip Your Art Naked

PART SIXTEEN: The Devil, Probably, 1977
The Adversary
The Gaps Are Where the Poetry Slips In

PART SEVENTEEN: L'Argent, 1983
O Money, Visible God!
The Cinema Is Immense. We Haven't Done a Thing.

Image Credits



bresson on bresson 02



◆本書より◆


「The Wind Blows Where It Wants To」より:

「What is beautiful in a film, what I look for, in essence, is a journey toward the unknown. The audience has to sense that I'm heading toward the unknown, that I don't know in advance what will happen. 」

(フィルムにおいてうつくしいもの、私が求めるものは、ようするに、未知なるものへの旅だ。私が未知なるものへ向いつつあること、何が起るかを前もって知らずにいることを観客に感じとらせなければならない。)


「To Capture Only What Is Real」より:

「A film is not made of images, it's made of relationships between images.」

(フィルムはイメージによって作られるのではない、イメージ相互の関係によって作られる。)


「Poetry and Truth Are Sisters」より:

「I don't develop anything; I don't prove anything. I imagine a character and place him in certain situations, then watch him behave (as seen from the interior).」

(私はなにも発展させないし、なにかを証明しようとも思わない。私はある個性を想像し、その個性をある状況に置いて、自由に振舞わせ、その内面に入り込んで観察する。)


「It's What the Film Wanted」より:

「I abhor symbols, I resist them.」

(私はシンボルが大嫌いだ、シンボルはいっさい使わない。)


「Emotion Should Be Our Only Guide」より:

「The notion of an audience has, for a long time now, been immaterial to me. It's likely that the more one works for oneself, the more people one reaches - contrary to what most producers seem to think.」

(ずっと前から、観客という概念は私にとっては重要なものでなくなっている。たいていのプロデューサーが考えるのとは反対に、自分自身のために映画を作るようにすればするほど、より多くの人に訴えかけることができるのではないか。)


「If You Want the Current to Flow, You Have to Strip the Wires」より:

「Yes, I have been given the label "Jansenist." In the sense of someone who dislikes ornament and excess, who likes what is stripped down, naked. I know that electricians have to strip the wires in order to join them if they want the current to flow.」

(私は「ヤンセニスト」だと揶揄されてきた。装飾や過剰を忌み嫌い、必要最小限の、剥き出しの状態を好むという意味ではそうだ。電線を繋げて電流を通じさせるためには電気技師は電線を剥き出しにしなければならない。)


「The Freest Film I've Made, the One to Which I've Given the Most of Myself」より:

「I have a feeling that people are much more intelligent, much more gifted - but that life crushes them. Immediately. They get crushed because notihing is more frightening than talent or genius, It makes us uneasy. Parents fear it. So they squash it. And in animals, there must be some very smart ones that we destroy with training. by beating them. . . .」

(人は本来もっと知的で、才能に恵まれているのに、生活がせっかくの才能を台無しにしてしまうのではないか。世間は天才に不安を感じ、怖れ、天才を見つけると直ちにつぶしてしまう。親は子どもの天才を矯正して駄目にしてしまう。動物たちの中にもとても頭のいいものがいるはずだが、調教したり躾けたりすることによってせっかくの天才をぶちこわしてしまう。)




こちらもご参照ください:

Robert Bresson 『Notes on the Cinematograph』  tr. by Jonathan Griffin
































































































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