In Paris, the audience of the first films shown in Europe, the arrival of a train in a local station, still remained with his eyes wide and mouth open in amazement when one of these approaches, is presented as magician and asks if he can buy a device like what he saw to project images. The response of the two brothers who organized the screening is dry: no, this is a device that is not going to play, the theater, but to science. It was 1895. The two were brothers Louis and Auguste Lumiere and was the magician Georges Méliès. Continues with this post a reflection on the relationship between magic, theater and film on one side and the other problem solving started yesterday with the post Solve and create problems with the magic and the theater . Georges Méliès can be considered the father of cinema . Before him, in fact, the Lumière brothers were still at the documentaries. Not only that they had not understood the real value of what they were doing because they thought that their invention was intended only to scientific fields. In fact, when in 1895 the illusionist magician Méliès asked to buy the equipment they used these refused to sell asserting that it had something to do with science, not the game or the theater. Undeterred Méliès had built a machine to be taken by a rudimentary engineer and began a remarkable career as a director, which lasted until 1913. In all these years as a film studio created something like 1,500 movies (mostly destroyed) is accented with several masterpieces. Among these Trip to the Moon , from which comes the famous image in the top left corner that plays for the rocket used by cosmonauts to the moon going to stick in one of the two eyes of face of the moon.
Today, this kind of film has the same effect he had on his contemporary audience in which, however, aroused wonder and wonder. In order to do was use the whole repertoire of techniques illusionist , who knew perfectly: appearances, disappearances, and projected shadows, simulacra. When, in fact, wanted to buy the unit of Lights did not know what to do, but soon when he had the technology he needed in his hands you transposed all his wisdom as a magician. One of the first achievements was in fact trick d'une dame chez Robert-Houdin it appears that he himself gets rid of a woman. The film must have seemed like a great opportunity to expand the scope of his tricks, his illusions. And you put out with such enthusiasm. For him, this new invention is not an exclusive preserve of the scientific fields, such as the Lumière wanted, but a beautiful toy. His films are in fact modulated according to the stylistic elements of farce, full of humor and characters, like the devils, magicians and pierrot coming from all over the vitality of the commedia dell'arte. Look, for example, Lune a meter 1898.
This look at the dawn of cinema allows us some thoughts, or rather the real lessons. We start from the play: Méliès, as we have seen, the film is a great game , almost childlike, imaginative in which attention is paid to the fun and moral education as it will only cinema his time. And 'This is the first great lesson for this great director likes to explore all the possibilities that the emerging technologies give film the show. And in all his movies is a delight, amusement. Has not been able to work with great actors but he is relaxed and moves with great dexterity as well as some forms it uses, voted to the game and jokes and jokes such as magicians and devils. This does not diminish the artistic possibilities of cinema, but the boosts. Why does everyone amused him, the actors, crew, spectators. And this is a wonderful opportunity to explore in every direction: towards the problems, opportunities, etc.. And it's the real deal to pick complexity . The game is in fact a reduction of complexity. "The game starts up all forms of thought, the vertical and lateral thinking, rationality and emotion, thinking and doing. (...) The game can be used to analyze the situation with different eyes, to see problems that were not otherwise obvious, "writes Umberto Santucci in Make light on key (The Heron) .
Méliès's films can be considered as " theater impossible "because it subverts the laws of physics, logic, and everyday life. In most of his filmography, in fact, is grappling with a series of illusions that plumb the impossible. Not Infact uono of his greatest masterpieces was titled journey through the impossible . Méliès Here he travels to heaven, the sun and the deep sea. Moreover, the impossible was his job before coming to the cinema because it was one of the best magicians in the world, so they have inherited the theater of the great Houdini. Before his short film viewers will be amazed, dazed as asking "but how did"? See for example Le magicien 1898.
Today, this kind of film has the same effect he had on his contemporary audience in which, however, aroused wonder and wonder. In order to do was use the whole repertoire of techniques illusionist , who knew perfectly: appearances, disappearances, and projected shadows, simulacra. When, in fact, wanted to buy the unit of Lights did not know what to do, but soon when he had the technology he needed in his hands you transposed all his wisdom as a magician. One of the first achievements was in fact trick d'une dame chez Robert-Houdin it appears that he himself gets rid of a woman. The film must have seemed like a great opportunity to expand the scope of his tricks, his illusions. And you put out with such enthusiasm. For him, this new invention is not an exclusive preserve of the scientific fields, such as the Lumière wanted, but a beautiful toy. His films are in fact modulated according to the stylistic elements of farce, full of humor and characters, like the devils, magicians and pierrot coming from all over the vitality of the commedia dell'arte. Look, for example, Lune a meter 1898.
This look at the dawn of cinema allows us some thoughts, or rather the real lessons. We start from the play: Méliès, as we have seen, the film is a great game , almost childlike, imaginative in which attention is paid to the fun and moral education as it will only cinema his time. And 'This is the first great lesson for this great director likes to explore all the possibilities that the emerging technologies give film the show. And in all his movies is a delight, amusement. Has not been able to work with great actors but he is relaxed and moves with great dexterity as well as some forms it uses, voted to the game and jokes and jokes such as magicians and devils. This does not diminish the artistic possibilities of cinema, but the boosts. Why does everyone amused him, the actors, crew, spectators. And this is a wonderful opportunity to explore in every direction: towards the problems, opportunities, etc.. And it's the real deal to pick complexity . The game is in fact a reduction of complexity. "The game starts up all forms of thought, the vertical and lateral thinking, rationality and emotion, thinking and doing. (...) The game can be used to analyze the situation with different eyes, to see problems that were not otherwise obvious, "writes Umberto Santucci in Make light on key (The Heron) .
Who are the most skilled in using the game? Children , of \u200b\u200bcourse. It 's really a very powerful resource for thanks it can resolve situations that would otherwise stagnate. Read the story Ali Cogia The pilgrim and merchant smart it The Thousand and One Nights . It tells of a wealthy cloth merchant, Ali Cogia, which leaves for the pilgrimage to Mecca. Before leaving the hidden gold coins in a jar with olives on the surface, seals it and entrusts him to a merchant friend, asking him to keep it. This seeing, years later, the rich merchant who never came home from his trip opened the jar and found the gold coins. Just in case he threw away the olives are rotten, they bought a new and closed again the pot. Shortly after Ali returned and ordered to restore the vessel. No longer finding the gold turned to the courts for justice but it listens to the two versions (that of the wealthy merchant and the merchant's smart) and you think that Ali wants to take advantage of the other merchant and thus rejects his allegations . To win anything from this review then turns to the caliph Harun ar-Rashid. He had a habit of dressing up and walking through the streets of the city. In doing so he sees in a courtyard of children playing in the staging process against Ali, the merchant smart. The court asks that the child be brought to the pot and calls to other children, self-styled experts olives, olives if those who are inside are recent years or older. The response is that they are very recent. Thus, the court endorse the allegations of child Cogia Ali and condemns the custodian of the vessel, guilty of being possession of gold coins contained therein. The next day the caliph is to call this child the same way and makes judging the case.
So I think the case that we take some questions. Games ever? Have you ever realized the potential of the game? Have you ever tried to solve problems playing? What games did you use? If you want to answer in the comments.
Of the other classes is dealt with in later posts, his sentence for every day ;-)
Who wants to learn more about Georges Méliès can fun to browse this mini-map below.
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