{"id":1107,"date":"2012-04-11T16:10:14","date_gmt":"2012-04-11T14:10:14","guid":{"rendered":"http:\/\/philippelanglois.net\/lcd\/?p=1107"},"modified":"2014-09-03T09:26:58","modified_gmt":"2014-09-03T07:26:58","slug":"rapt-de-dimitri-kirsanoff-1934","status":"publish","type":"post","link":"http:\/\/philippelanglois.net\/lcd\/?p=1107","title":{"rendered":"RAPT de Dimitri Kirsanoff (1934)"},"content":{"rendered":"<p>Le texte et l&#39;extrait vid&eacute;o ci-apr&egrave;s documentent l&#39;ouvrage de Philippe Langlois, <a href=\"http:\/\/philippelanglois.net\/lcd\/?p=1004\"><em>Les cloches d&#39;Atlantis, musique &eacute;lectroacoustique et cin&eacute;ma arch&eacute;ologie et histoire d&#39;un art sonore,<\/em> <\/a>&eacute;ditions mf, Paris, 2012.<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" alt=\"\" height=\"197\" src=\"http:\/\/philippelanglois.net\/lcd\/wp-content\/uploads\/Rapt affiche.jpg\" width=\"256\" \/><\/p>\n<p><style>\n<!--{cke_protected}%3C!%2D%2D%7Bcke_protected%7D%253C!%252D%252D%257Bcke_protected%257D%25253C!%25252D%25252D%25257Bcke_protected%25257D%2525253C!%2525252D%2525252D%2525257Bcke_protected%2525257D%252525253C!%252525252D%252525252D%252525257Bcke_protected%252525257D%25252525253C!%25252525252D%25252525252D%25252525250A%252525252520%25252525252F*%252525252520Font%252525252520Definitions%252525252520*%25252525252F%25252525250A%252525252540font-face%25252525250A%252525252509%25252525257Bfont-family%25252525253ATimes%25252525253B%25252525250A%252525252509panose-1%25252525253A2%2525252525200%2525252525205%2525252525200%2525252525200%2525252525200%2525252525200%2525252525200%2525252525200%2525252525200%25252525253B%25252525250A%252525252509mso-font-charset%25252525253A0%25252525253B%25252525250A%252525252509mso-generic-font-family%25252525253Aauto%25252525253B%25252525250A%252525252509mso-font-pitch%25252525253Avariable%25252525253B%25252525250A%252525252509mso-font-signature%25252525253A3%2525252525200%2525252525200%2525252525200%2525252525201%2525252525200%25252525253B%25252525257D%25252525250A%252525252520%25252525252F*%252525252520Style%252525252520Definitions%252525252520*%25252525252F%25252525250Ap.MsoNormal%25252525252C%252525252520li.MsoNormal%25252525252C%252525252520div.MsoNormal%25252525250A%252525252509%25252525257Bmso-style-parent%25252525253A%252525252522%252525252522%25252525253B%25252525250A%252525252509margin%25252525253A0cm%25252525253B%25252525250A%252525252509margin-bottom%25252525253A.0001pt%25252525253B%25252525250A%252525252509mso-pagination%25252525253Awidow-orphan%25252525253B%25252525250A%252525252509mso-hyphenate%25252525253Anone%25252525253B%25252525250A%252525252509font-size%25252525253A12.0pt%25252525253B%25252525250A%252525252509mso-bidi-font-size%25252525253A10.0pt%25252525253B%25252525250A%252525252509font-family%25252525253ATimes%25252525253B%25252525250A%252525252509mso-fareast-font-family%25252525253ATimes%25252525253B%25252525250A%252525252509mso-bidi-font-family%25252525253ATimes%25252525253B%25252525250A%252525252509mso-ansi-language%25252525253AFR%25252525253B%25252525250A%252525252509mso-fareast-language%25252525253AAR-SA%25252525253B%25252525257D%25252525250A%252525252540page%252525252520Section1%25252525250A%252525252509%25252525257Bsize%25252525253A612.0pt%252525252520792.0pt%25252525253B%25252525250A%252525252509margin%25252525253A70.85pt%25252525252070.85pt%25252525252070.85pt%25252525252070.85pt%25252525253B%25252525250A%252525252509mso-header-margin%25252525253A36.0pt%25252525253B%25252525250A%252525252509mso-footer-margin%25252525253A36.0pt%25252525253B%25252525250A%252525252509mso-paper-source%25252525253A0%25252525253B%25252525257D%25252525250Adiv.Section1%25252525250A%252525252509%25252525257Bpage%25252525253ASection1%25252525253B%25252525257D%25252525250A%25252525252D%25252525252D%25252525253E%252525252D%252525252D%252525253E%2525252D%2525252D%2525253E%25252D%25252D%25253E%252D%252D%253E%2D%2D%3E-->\n<\/style>\n<\/p>\n<p>Trois ans plus t&ocirc;t, en 1934, une autre exp&eacute;rience de partition r&eacute;trograde est tent&eacute;e dans l&rsquo;impressionnante piste sonore de Rapt de Dimitri Kirsanoff sur une musique conjointement compos&eacute;e par Arthur Honneger et Arthur Ho&eacute;r&eacute;e. Parmi les nombreuses &laquo;&nbsp;particularit&eacute;s sonores du film Rapt&nbsp;&raquo;, qui en font probablement le film le plus inventifs au niveau de l&#39;impressionnant travail de la bande son, l&rsquo;emploi de ce proc&eacute;d&eacute; illustre cette fois-ci l&rsquo;ind&eacute;cision d&rsquo;un homme devant un vaste dilemme.<\/p>\n<p>Pour repr&eacute;senter le r&ecirc;ve &eacute;veill&eacute; de cet homme, Arthur Honegger et Arthur Ho&eacute;r&eacute;e utilisent le proc&eacute;d&eacute; musical inaugur&eacute; par Roland-Manuel en 1929. La sonorit&eacute; irr&eacute;elle et ind&eacute;termin&eacute;e de la musique r&eacute;trograde &eacute;tablit une fois encore le lien avec l&rsquo;int&eacute;riorit&eacute; du personnage. M&ecirc;l&eacute;e au tic-tac d&rsquo;une horloge qui marque le temps qui passe et qui presse, ainsi qu&rsquo;&agrave; la &laquo;&nbsp;voix-off&nbsp;&raquo; de l&rsquo;homme qui pense tout haut, la musique baigne dans un halo sonore, une aspiration, un effet musical qui l&rsquo;entra&icirc;ne un peu plus dans son ind&eacute;cision. L&rsquo;emploi d&rsquo;un tel proc&eacute;d&eacute; est &eacute;galement une mani&egrave;re de rendre perceptible, le possible renversement de la vie de Firmin, l&rsquo;inconnu de l&rsquo;avenir.<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" allowfullscreen=\"\" frameborder=\"0\" height=\"360\" src=\"http:\/\/www.youtube.com\/embed\/dURbVHd7U54?rel=0\" width=\"480\"><\/iframe><\/p>\n<p>Pour r&eacute;aliser la s&eacute;quence de l&rsquo;orage, une panoplie d&rsquo;effets sonores est n&eacute;cessaire afin d&rsquo;une part, d&rsquo;en renforcer la violence et d&rsquo;autre part, d&rsquo;associer cette violence &agrave; la sc&egrave;ne mont&eacute;e en parall&egrave;le, celle du baiser que Firmin arrache &agrave; Elsi. Le traitement du son dans cette sc&egrave;ne ne se limite pas &agrave; l&rsquo;intervention de la synth&egrave;se optique. Le num&eacute;ro sp&eacute;cial de la Revue Musicale de d&eacute;cembre 1934 s&rsquo;en fait l&rsquo;&eacute;cho&nbsp;de la main des auteurs :&nbsp; <br \/>\n\t&laquo;&nbsp;Pour &eacute;tablir l&rsquo;orage, nous avons demand&eacute; &agrave; l&rsquo;orchestre d&rsquo;improviser, suivant nos indications, des fragments bien d&eacute;termin&eacute;s : orage lointain, orage moyen, orage d&eacute;cha&icirc;n&eacute;. Avec ces dix m&egrave;tres de pellicule nous avons pu construire, parall&egrave;lement &agrave; l&rsquo;action, un orage complet (plus de cent m&egrave;tres), reproduisant tel effet, coupant tel autre, montant tant&ocirc;t &agrave; l&rsquo;endroit, tant&ocirc;t &agrave; l&rsquo;envers le grondement du tonnerre qui, de ce fait, s&rsquo;approche, s&rsquo;&eacute;loigne (&#8230;). Les raccords de ces divers fragments ont &eacute;t&eacute; faits au moyen du son synth&eacute;tique, c&rsquo;est-&agrave;-dire en dessinant &agrave; m&ecirc;me la pellicule les vibrations susceptibles d&rsquo;encha&icirc;ner les sonorit&eacute;s diff&eacute;rentes &raquo;.<br \/>\n\tLe r&eacute;sultat de cette composition restitue avec l&rsquo;image une authentique sensation audiovisuelle de violence. Les envol&eacute;es d&rsquo;ondes Martenot, les &eacute;clats de lumi&egrave;res se m&ecirc;lent aux sons synth&eacute;tiques m&eacute;lang&eacute;s avec les flux sonores incertains de la texture orchestrale pour cr&eacute;er l&rsquo;une des exp&eacute;riences sonores des plus hardies,&nbsp; un exemple d&rsquo;abstraction sonore comme jamais le cin&eacute;ma ne l&rsquo;avait engendr&eacute;e auparavant. Les sons d&eacute;chirants et artificiels des &eacute;clairs viennent ponctuer les dialogues dans cette s&eacute;quence, n&oelig;ud dramatique o&ugrave; se joue le drame final. Au temps des pionniers du cin&eacute;ma sonore, il est pour le moins curieux de rencontrer un tel degr&eacute; d&rsquo;&eacute;laboration de la mati&egrave;re sonore dans un film de 1933.<\/p>\n<p style=\"text-align: center;\"><iframe loading=\"lazy\" allowfullscreen=\"\" frameborder=\"0\" height=\"360\" src=\"http:\/\/www.youtube.com\/embed\/KlqAzAHidtc?rel=0\" width=\"480\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>film totalement in\u00e9dit sur une musique d&rsquo;Arthur Honegger et Arthur Ho\u00e9r\u00e9e <\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[41,3,53,57,7,6],"tags":[15,19,112,16,136],"_links":{"self":[{"href":"http:\/\/philippelanglois.net\/lcd\/index.php?rest_route=\/wp\/v2\/posts\/1107"}],"collection":[{"href":"http:\/\/philippelanglois.net\/lcd\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/philippelanglois.net\/lcd\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/philippelanglois.net\/lcd\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/philippelanglois.net\/lcd\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1107"}],"version-history":[{"count":5,"href":"http:\/\/philippelanglois.net\/lcd\/index.php?rest_route=\/wp\/v2\/posts\/1107\/revisions"}],"predecessor-version":[{"id":1715,"href":"http:\/\/philippelanglois.net\/lcd\/index.php?rest_route=\/wp\/v2\/posts\/1107\/revisions\/1715"}],"wp:attachment":[{"href":"http:\/\/philippelanglois.net\/lcd\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1107"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/philippelanglois.net\/lcd\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1107"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/philippelanglois.net\/lcd\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1107"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}