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About « Le château de ma mère » from Marcel Pagnol

French

As part of the Cercle des Chamaileurs, one of us chose to talk about Le Château de ma mère. I would have preferred a play, it would have allowed us to see how Marcel Pagnol himself staged the text he had written.

This choice of Le Château de ma mère made me read 3 books of Pagnol (Le Château de ma mère, La Gloire de mon père, Le Temps des secrets), to loak at 2 films of Yves Robert (Le Château de ma mère, La Gloire de mon père) and read 2 books by Jean Giono (Regain, Le Chant du monde).

 

Conclusion: I am lost. I mix a little everything. Partly because of Yves Robert who staged some anecdotes under titles that are not accurate (the meeting of Marcel and Isabelle in Le Château de ma mère)

What does it come out of? That I am not able to do a structured article like I did on the other books discussed previously. But simply to give sometimes contradictory impressions.

First, a certain lightness of Pagnol’s books. Lightness, in the good sense of the word, that is to say pleasant to read but also lightness compared to Giono. Le Château de ma mère is a fake children’s book with short chapters (6 pages on average) that turn a bit at Le Petit Nicolas or La Guerre des boutons sometimes to Don Camillo and Peppone.
Still highlighted in Yves Robert’s film.
The first hundred pages of Le Château are the enchanted discovery by the young Marcel of the hills, at the beginning with the hunters of which he is the dog beater, before making the faithful dog of Isabelle, to face the big black dog, attached but terrible, to become captain of the beautiful Isabelle  and finally, with all the family, impressed by the old Mastoc, the old dog of the narrow guard.
But the true discovery is the encounter, accomplice, Lili de Bellons, younger than him in the book but larger in the film, which makes him discover, really opens the beauty of nature, wildlife, flora of the hills. With perhaps too much display by Marcel Pagnol of his knowledge of the birds. Marcel tries to give in exchange the story of the city, the multiplication table or the vocabulary of the school. But what Lili prefers is the anecdote of the bartavelles.

Yves Robert is only marginally interested in this meeting-discovery of nature: the first three minutes, including generic, are a circular view around a hill of white rocks, in the mist, under a gray sky, which leads to grosibou (gros hibou, big owl) in his cache, seen from behind, in backlight, disturbing, watching over new hills that we discover, with songs of birds, finally becoming green in a blue sky while the voice of the narrator speaks of these hills, the love of his life, and the holidays over: a car moves away from the country house, a young deboule, in sailor suit, shakes hands …

The second part of the book is made of the adventures of the little Marcel, convict scholarship, equipped to go to the bastide, genius of the plot of the mother and happy meetings of Bouzigue who has a good job thanks to Mr. Joseph, his former teacher, Marcel’s father, and his sister (sic), little virtue! Happy meeting of the scarred count, of the gardener, son of the people. Such is the people; his faults come only from his ignorance. But his heart is good as good bread and he has the generosity of children and especially the bad meeting … the guard accompanied by Mastoc.

 

 

For Yves Robert, it’s essential but it was not enough, he adds the meeting with Isabelle who is in Le temps des secrets.

The success of the book and of the film is probably due to the description of the friendly and family sentimental relations, and to a certain number of happy, picturesque formulas or words of child sometimes of an innocent cruelty. But also to situations that are affectionately ridiculed: the discreet disrespect for his father’s attachment to the Republic, to the instruction beyond his professional life, his scruples, his agnosticism… the religiosity of  Uncle Jules is never questioned.

Beyond the good words of children: il faut le démourir, (it must be indied) … On ne tremble pas pour des chasseurs à moustaches… J’avais décidé de n’aspirer à ces hautes fonctions qu’après mon service militaire. (We do not tremble for hunters mustaches … I decided to aspire to these high positions after my military service). One can be sensitive to a certain lyricism of Pagnol:  L’oreille collée à la roche polie, nous écoutions, les yeux fermés. Elle chantait selon les vents, le mistral la faisait rire…, Les parfums étaient devenus des odeurs et montaient du sol presque visibles, les pins immobiles se mirent à chanter… Leurs costumes de chasse sur les épaules de plusieurs chaises… Son visage énorme était orné de deux paires de moustaches rousses : l’une sous le nez, l’autre au dessus des yeux qui étaient bleus et bordés de cils rouges… Les gouttes de pluie coulaient lentement sur la vitre ; sur ma figure, lentement coulaient mes larmes, an image that he seems to like because he takes it again: De douces gouttes de pluie pleuraient pour moi sur mon visage (Il pleure dans mon cœur comme il pleut sur la ville ? Paul Verlaine)… La pluie tombait en gouttes de silence...

Some of these images flourish pantheism:  La vieille odeur de la bergerie… nous fit savoir… La pluie le comprit, elle s’arrêta… Les trente cinq jours… mais la patience de la pendule en vint à bout. (The old smell of the sheepfold … let us know … The rain understood, it stopped … The thirty five days … but the patience of the clock came at the end).

However, we are very far from the powerful pantheistic lyricism of Jean Giono.

Publicités

The murmur of the walls

En français

Urban art has, from now on, its letters of nobility, recognized artists, institutional sponsors … Walls-museums with organized visits … But it will be question here only of the urban art as means of expression popular in the form of graffiti, texts or images, painted or glued.

These graffiti flourish around the world, works, sometimes signed, more or less ephemeral, erased, overloaded or completely covered.
Wild exedrcise, undisciplined, most often on unauthorized media, walls, storefronts, trucks … accessible to the realization and understanding of all … free, without any censorship other than that of authors who pass or not to the act, which may be covered or contested by other graffiti writers.

Reflections in the form of texts / drawings offered to the passers-by, philosophical, political, protesting, tender, disrespectful, poetic, romantic, humorous, naive, delusional, utopian or cruel, they give to see the murmur of the city (1). These images will disappear, in eight days, in a month, in a year, in an obsolescence generally not programmed but assumed, which does not depend on the quality, artistic or literary … but most often of the activity of other graffiti writers in need of expression, exposure … or private or institutional owners ..

 However, some will survive longer thanks to the patient, passionate work of those who collect them, archive them, publish them in books … (2)

The images, presented below, were collected at random walks, mainly in Paris, Belleville, East Paris, 13th arrondissement, they are presented by themes.

Some are located geographically, 6 place de la République (Paris) – continuation of Nuits debout – and 6 abroad.

This new series follows that of 2016 (3) and the images of the day after the attacks in Paris (4).

Only messages in the form of texts have been retained. Without any judgment, neither on the substance nor on the form.

The pictorial texts of images will be published later.

Le murmure des murs
Le murmure des mursLe murmure des murs
Le murmure des mursLe murmure des murs
Le murmure des mursLe murmure des mursLe murmure des murs

The political murmur of the walls of Paris.

Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique
Politique

6 on  place de la République (Nuits debout)

Pace Nuit debout
Pace Nuit debout
Pace Nuit debout
Pace Nuit debout
Pace Nuit debout
Pace Nuit debout

Immigration

Immigrés
Immigrés
Immigrés

Love

Amour
Amour
Amour
Amour
Amour
Amour

I think so I tag

Le murmure des murs
Le murmure des mursLe murmure des murs
Le murmure des mursLe murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs
Le murmure des murs

Foreign

1 in Italy, 2 in Algeria, 3 in Germany

1 en Italie, 2 en Algérie, 3 en  Allemagne.
1 en Italie, 2 en Algérie, 3 en  Allemagne.1 en Italie, 2 en Algérie, 3 en  Allemagne.
1 en Italie, 2 en Algérie, 3 en  Allemagne.1 en Italie, 2 en Algérie, 3 en  Allemagne.1 en Italie, 2 en Algérie, 3 en  Allemagne.

1 – The construction of the wall of Fermiers généraux, between 1784 and 1790, to collect tax, of course unpopular, on the goods entering Paris, aroused this anonymous words: Le mur murant Paris rend Paris murmurant.  This wall was destroyed in 1860.

2 – Among these but there are many others:
– TIENS  ILS ONT REPEINT ! 50 ans d’aphorismes urbains de 1968 à nos jours,  Yves Pagès La Découverte 2017
-STREET ART Larousse
– Les Graffitis de la Liberté, sur les murs du printemps égyptien. Editions Vent de sable Vincent Euverte 2015

3 – Les murs ont la parole, 16 juin, 2016

4 – Paris touchée, 25 juin, 2016

Black dolls and Roma artist: two exhibitions

Version française

La Maison rouge (Fondation Antoine de Galbert), presents until May 20, 2018, two exhibitions that are worth seeing, both for people living in the Île de France region and for those who are only passing through Paris.

The first, Black Dolls, consists of 200 black dolls among the 1000 from 1840 to 1940 collected by Deborah Nef. Some of which are presented below.

 

 

Black Dolls

These black dolls were made,  between 1840 and 1940, by young girls or black women, most often for white or black children.

They are of a very great diversity, men, women, with varied clothes. This presentation of dolls is accompanied by period photos, texts and a short film remarkable to place them in the context of relations between blacks and whites in the United States.

 

Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions

Photographs and a short film complete the exhibition to identify their use …

Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions

The dopsy-turvy dolls are dolls that, when we turn their skirts, show their faces black or white.
Some, without clothes, face, arm and white trunk are welded by the trunk to another doll black trunk, arms and face.
They were allegedly made by black nannies for their children and / or the white children they cared for.

 

Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions

During a trip to Brazil, about thirty years ago, at the market, a saleswoman proposed this type of dolls that can be returned, saying: « the poor and the rich« . One, with a dark complexion, the poor doll, had a beautiful but simple dress, turning it, appeared another doll, the complexion clearer, the rich with a dress much more beautiful.

A few years later, Brazilian friends brought back a doll of the same type. The difference in complexion between the rich and the poor was far less obvious.

 

Hazard ? Évolution ?

 

Poupées noires et  artiste rom : deux expositionsPoupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositionsPoupées noires et  artiste rom : deux expositions

This exhibition is not only beautiful by the dolls presented, It is also interesting by its presentation that tries to replace them, by texts and a short film in the context of relations between blacks and whites in the United States.

Ceija  Stojla (1933-2013)

Ceija Stojka, an Austrian rom, was deported at the age of ten to the Ravensbrück, Auschwitz-Birkenau, Bergen-Belsen camps with her mother and siblings.
During the Second World War, 90% of Austrian Roma disappeared.

At the age of 55, she began to return to this period to give her testimony by texts, in many notebooks, some of which were published, and by drawings and paintings, more than a thousand, inks, gouaches, acrylic, of which 150 are presented in the exhibition.

These paintings were made between 1988 and 2012 over the memories. They are presented by chapters: When we drove …, The stalking … The camps … The return to life
Some pictures of this magnificent exhibition.

 

Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions
Poupées noires et  artiste rom : deux expositions

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