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.
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.
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 …
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.
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.
The political murmur of the walls of Paris.
6 on place de la République (Nuits debout)
I think so I tag
1 in Italy, 2 in Algeria, 3 in Germany
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