Entr'acte (film)
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| - | On [[November 27]], [[1924]], a [[film]] named '''''Entr'acte''''' premiered as [[entr'acte]] for the [[Ballets Suédois]] production '''''[[Relâche]]''''' at the [[Théâtre des Champs-Élysées]] in Paris. ''Relâche'' is based on a book and with settings by [[Francis Picabia]], produced by [[Rolf de Maré]], and with choreography by [[Jean Borlin]]. This short film was directed by [[René Clair]] with the music for both the ballet and the film composed by [[Erik Satie]] (the last music he composed). For this production, the [[dada|dadaists]] collaborating on the project had invented a new flavor of [[dada]] or [[surrealism]]: [[instantanéisme]]. The complete film takes about 20 minutes using such techniques as watching people run in slow motion, watching things happen in reverse, looking at a ballet dancer from underneath, watching an egg over a fountain of water get shot and instantly become a bird and watching people disappear. The [[casting|cast]] included [[cameo appearance]]s of [[Francis Picabia]], [[Erik Satie]], [[Man Ray]] and [[Marcel Duchamp]]. The conductor of the orchestra at the [[premiere]] was [[Roger Désormière]]. The film is included on the Criterion Collection DVD of Clair's film ''[[À Nous la Liberté]]'' ([[1931]]). The two parts of the film are as follows (note that time indications are approximate, since neither film nor music techniques at the time of the premiere allowed exact temporisation in a public performance): | + | On [[November 27]], [[1924]], a [[film]] named '''''Entr'acte''''' premiered as [[entr'acte]] for the [[Ballets suédois]] production '''''[[Relâche]]''''' at the [[Théâtre des Champs-Élysées]] in Paris. ''Relâche'' is based on a book and with settings by [[Francis Picabia]], produced by [[Rolf de Maré]], and with choreography by [[Jean Borlin]]. This short film was directed by [[René Clair]] with the music for both the ballet and the film composed by [[Erik Satie]] (the last music he composed). For this production, the [[dada|dadaists]] collaborating on the project had invented a new flavor of [[dada]] or [[surrealism]]: [[instantanéisme]]. The complete film takes about 20 minutes using such techniques as watching people run in slow motion, watching things happen in reverse, looking at a ballet dancer from underneath, watching an egg over a fountain of water get shot and instantly become a bird and watching people disappear. The [[casting|cast]] included [[cameo appearance]]s of [[Francis Picabia]], [[Erik Satie]], [[Man Ray]] and [[Marcel Duchamp]]. The conductor of the orchestra at the [[premiere]] was [[Roger Désormière]]. The film is included on the Criterion Collection DVD of Clair's film ''[[À Nous la Liberté]]'' ([[1931]]). The two parts of the film are as follows (note that time indications are approximate, since neither film nor music techniques at the time of the premiere allowed exact temporisation in a public performance): |
| ** A sequence of about 90 seconds, starring Satie and Picabia firing a cannon from the top of a building. This sequence, that can be downloaded [http://hem.fyristorg.com/ebay/wav/entracte.rm here] ([[RealPlayer|rm]] format) as silent movie, was played at the beginning of the ballet, right after the little ouverture ("Ouverturette"), and before the curtain raised ("Rideau"). The music to this part of the film is called "Projectionnette", and is included as 2nd item in the [[Relâche]] partition. A performance of this music, taking 36 seconds, can be downloaded here: in [http://hem.fyristorg.com/realpiano/wav/relache.mp3 mp3 format] (mpeg 284 KB) or in [http://hem.passagen.se/satie/relache.ram ram format] (realaudio 71 KB). There appears no real effort for music to film synchronisation in this part of the film. Probably the "Projectionnette" music was played two or three times before proceeding to the "Rideau" part of the music. | ** A sequence of about 90 seconds, starring Satie and Picabia firing a cannon from the top of a building. This sequence, that can be downloaded [http://hem.fyristorg.com/ebay/wav/entracte.rm here] ([[RealPlayer|rm]] format) as silent movie, was played at the beginning of the ballet, right after the little ouverture ("Ouverturette"), and before the curtain raised ("Rideau"). The music to this part of the film is called "Projectionnette", and is included as 2nd item in the [[Relâche]] partition. A performance of this music, taking 36 seconds, can be downloaded here: in [http://hem.fyristorg.com/realpiano/wav/relache.mp3 mp3 format] (mpeg 284 KB) or in [http://hem.passagen.se/satie/relache.ram ram format] (realaudio 71 KB). There appears no real effort for music to film synchronisation in this part of the film. Probably the "Projectionnette" music was played two or three times before proceeding to the "Rideau" part of the music. | ||
| ** The rest of the film was played as entr'acte between the two acts of the ballet. The score for this part of the film is not included in the [[Relâche]] partition, but was written down by Satie in a separate score, titled "Cinéma". This part of the music contains "expandable" repeat zones, in order to match the start of a new tune with certain events in the film, thus it was one of the earliest examples of [[music]] to [[film]] [[synchronization]]. In the score, Satie names 10 sections that are associated with scenes in the film.{{GFDL}} | ** The rest of the film was played as entr'acte between the two acts of the ballet. The score for this part of the film is not included in the [[Relâche]] partition, but was written down by Satie in a separate score, titled "Cinéma". This part of the music contains "expandable" repeat zones, in order to match the start of a new tune with certain events in the film, thus it was one of the earliest examples of [[music]] to [[film]] [[synchronization]]. In the score, Satie names 10 sections that are associated with scenes in the film.{{GFDL}} | ||
Revision as of 07:53, 27 July 2007
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On November 27, 1924, a film named Entr'acte premiered as entr'acte for the Ballets suédois production Relâche at the Théâtre des Champs-Élysées in Paris. Relâche is based on a book and with settings by Francis Picabia, produced by Rolf de Maré, and with choreography by Jean Borlin. This short film was directed by René Clair with the music for both the ballet and the film composed by Erik Satie (the last music he composed). For this production, the dadaists collaborating on the project had invented a new flavor of dada or surrealism: instantanéisme. The complete film takes about 20 minutes using such techniques as watching people run in slow motion, watching things happen in reverse, looking at a ballet dancer from underneath, watching an egg over a fountain of water get shot and instantly become a bird and watching people disappear. The cast included cameo appearances of Francis Picabia, Erik Satie, Man Ray and Marcel Duchamp. The conductor of the orchestra at the premiere was Roger Désormière. The film is included on the Criterion Collection DVD of Clair's film À Nous la Liberté (1931). The two parts of the film are as follows (note that time indications are approximate, since neither film nor music techniques at the time of the premiere allowed exact temporisation in a public performance):
- A sequence of about 90 seconds, starring Satie and Picabia firing a cannon from the top of a building. This sequence, that can be downloaded here (rm format) as silent movie, was played at the beginning of the ballet, right after the little ouverture ("Ouverturette"), and before the curtain raised ("Rideau"). The music to this part of the film is called "Projectionnette", and is included as 2nd item in the Relâche partition. A performance of this music, taking 36 seconds, can be downloaded here: in mp3 format (mpeg 284 KB) or in ram format (realaudio 71 KB). There appears no real effort for music to film synchronisation in this part of the film. Probably the "Projectionnette" music was played two or three times before proceeding to the "Rideau" part of the music.
- The rest of the film was played as entr'acte between the two acts of the ballet. The score for this part of the film is not included in the Relâche partition, but was written down by Satie in a separate score, titled "Cinéma". This part of the music contains "expandable" repeat zones, in order to match the start of a new tune with certain events in the film, thus it was one of the earliest examples of music to film synchronization. In the score, Satie names 10 sections that are associated with scenes in the film.
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