A poetics of the unfinished: a look at the film Moscow by Eduardo Coutinho

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The article discusses Eduardo Coutinho´s film Moscow as a unique case in the filmography of this documentalist, in which the film-work turns to a theatrical creation process that has no other end that the film itself. Instead of opening the eye of the camera to testimonies or scenes from “real life”...

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Autor principal: Sobral Costa, Anamaria
Formato: Artículo revista
Lenguaje:Español
Publicado: Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2013
Materias:
Cine y teatro
Realidad y ficción
Proceso creativo
Eduardo Coutinho
Enrique Díaz
Cinema and Theatre
Reality and fiction
Creative process
Enrique Diaz
Acceso en línea:https://revistas.unc.edu.ar/index.php/toma1/article/view/9331
Aporte de:
Revistas de la UNC de Universidad Nacional de Córdoba
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record_format ojs
spelling I10-R10-article-93312020-11-01T03:56:49Z A poetics of the unfinished: a look at the film Moscow by Eduardo Coutinho Una poética de lo inacabado: una mirada sobre la película Moscú, de Eduardo Coutinho Sobral Costa, Anamaria Cine y teatro Realidad y ficción Proceso creativo Eduardo Coutinho Enrique Díaz Cinema and Theatre Reality and fiction Creative process Eduardo Coutinho Enrique Diaz The article discusses Eduardo Coutinho´s film Moscow as a unique case in the filmography of this documentalist, in which the film-work turns to a theatrical creation process that has no other end that the film itself. Instead of opening the eye of the camera to testimonies or scenes from “real life”, as in other works, Coutinho uses the interface of theatre, proposing to Grupo Galpão and theatre director Enrique Diaz, a process of construction around the play Three sisters by Anton Chekhov. The article seeks to discuss the particularities of this creative process, analyzing their directions and guidelines; the interrelationships between reality and fiction; the hybridism between theatre, cinema and the multiple authors of the film, from the authors’ own vision of what I have called a “Poetics of the unfinished”. As theoretical tools, I recall the thoughts of art historian Michael Baxandall, genetics critic Cecília Almeida Salles, cinema theoretician Christian Metz and philosopher Gilles Deleuze. El artículo discute la película Moscú de Eduardo Coutinho como un caso singular en la filmografía del documentalista, en el cual la película-obra se vuelve sobre un proceso de creación teatral que no divisa otro fin que no sea la película misma. Al contrario de abrir el “ojo” de la cámara para testimonios o escenas de la “vida real”, como en otros trabajos, Coutinho usa la interfaz del teatro, proponiendo al Grupo Galpão y al director de teatro Enrique Díaz, un proceso de construcción alrededor de la obra Las tres hermanas, de Anton Chejov. El artículo busca discutir las particularidades de este proceso creativo, analizando sus encargos y directrices; las interpenetraciones entre realidad y ficción; el hibridismo entre teatro, cine y las múltiples autorías de la película, a partir de la visión de los propios autores de aquello que llamé una “poética de lo inacabado”. Como herramientas teóricas, recurro a las reflexiones del historiador del arte Michael Baxandall, de la crítica genética Cecília Almeida Salles, del teórico del cine Christian Metz y del filósofo Gilles Deleuze. Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba 2013-10-26 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/toma1/article/view/9331 Toma Uno; No. 2 (2013): El cine y las otras artes; 115-126 TOMA UNO; Núm. 2 (2013): El cine y las otras artes; 115-126 2250-4524 2313-9692 10.55442/tomauno.n2.2013 spa https://revistas.unc.edu.ar/index.php/toma1/article/view/9331/10053
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-10
container_title_str Revistas de la UNC
language Español
format Artículo revista
topic Cine y teatro
Realidad y ficción
Proceso creativo
Eduardo Coutinho
Enrique Díaz
Cinema and Theatre
Reality and fiction
Creative process
Eduardo Coutinho
Enrique Diaz
spellingShingle Cine y teatro
Realidad y ficción
Proceso creativo
Eduardo Coutinho
Enrique Díaz
Cinema and Theatre
Reality and fiction
Creative process
Eduardo Coutinho
Enrique Diaz
Sobral Costa, Anamaria
A poetics of the unfinished: a look at the film Moscow by Eduardo Coutinho
topic_facet Cine y teatro
Realidad y ficción
Proceso creativo
Eduardo Coutinho
Enrique Díaz
Cinema and Theatre
Reality and fiction
Creative process
Eduardo Coutinho
Enrique Diaz
author Sobral Costa, Anamaria
author_facet Sobral Costa, Anamaria
author_sort Sobral Costa, Anamaria
title A poetics of the unfinished: a look at the film Moscow by Eduardo Coutinho
title_short A poetics of the unfinished: a look at the film Moscow by Eduardo Coutinho
title_full A poetics of the unfinished: a look at the film Moscow by Eduardo Coutinho
title_fullStr A poetics of the unfinished: a look at the film Moscow by Eduardo Coutinho
title_full_unstemmed A poetics of the unfinished: a look at the film Moscow by Eduardo Coutinho
title_sort poetics of the unfinished: a look at the film moscow by eduardo coutinho
description The article discusses Eduardo Coutinho´s film Moscow as a unique case in the filmography of this documentalist, in which the film-work turns to a theatrical creation process that has no other end that the film itself. Instead of opening the eye of the camera to testimonies or scenes from “real life”, as in other works, Coutinho uses the interface of theatre, proposing to Grupo Galpão and theatre director Enrique Diaz, a process of construction around the play Three sisters by Anton Chekhov. The article seeks to discuss the particularities of this creative process, analyzing their directions and guidelines; the interrelationships between reality and fiction; the hybridism between theatre, cinema and the multiple authors of the film, from the authors’ own vision of what I have called a “Poetics of the unfinished”. As theoretical tools, I recall the thoughts of art historian Michael Baxandall, genetics critic Cecília Almeida Salles, cinema theoretician Christian Metz and philosopher Gilles Deleuze.
publisher Departamento de Cine y TV, Facultad de Artes, Universidad Nacional de Córdoba
publishDate 2013
url https://revistas.unc.edu.ar/index.php/toma1/article/view/9331
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first_indexed 2022-08-20T01:14:42Z
last_indexed 2022-08-20T01:14:42Z
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