{"id":8687,"date":"2014-02-17T02:00:00","date_gmt":"2014-02-17T02:00:00","guid":{"rendered":"http:\/\/a-desk.org\/2014\/02\/17\/albert-serra-el-formalista2777\/"},"modified":"2014-02-17T02:00:00","modified_gmt":"2014-02-17T02:00:00","slug":"albert-serra-el-formalista2777","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/albert-serra-el-formalista2777\/","title":{"rendered":"Albert Serra el formalista"},"content":{"rendered":"

\"historia_de_la_meva_mort.jpg\"
\nPer una q\u00fcesti\u00f3 d’extensi\u00f3 em limitar\u00e9 aqu\u00ed a la pel\u00b7l\u00edcula d’Albert Serra, Hist\u00f2ria de la meva mort<\/em>, i no a la seva gaireb\u00e9 sempre controvertida figura p\u00fablica. Les advert\u00e8ncies que el mateix Serra ha llan\u00e7at sobre el seu film es confirmen totes. La seva singularitat queda fora de tot dubte. En un col\u00b7loqui recent a Sant Sebasti\u00e0, posterior al visionat, va utilitzar en una ocasi\u00f3 el terme “formalista”, encara que no de manera molt intencional. Albert Serra \u00e9s un formalista d’alta volada. Explicar\u00e9 qu\u00e8 s’ent\u00e9n per aix\u00f2.<\/p>\n

El problema del formalisme en art i literatura (o en cinema) travessa tota l’est\u00e8tica del segle XX . El seu sentit, segons s’utilitzi, passa de ser el simple adjectiu descriptiu d’una tend\u00e8ncia est\u00e8tica hist\u00f2rica (diguem-ne formalitzant, i que surt d’una an\u00e0lisi del llenguatge com a mat\u00e8ria primera), a ser directament una acusaci\u00f3 pejorativa (la recerca buida de la forma a costa del contingut i conseg\u00fcent ret\u00f2rica). La complexitat del formalisme, especialment el seu significat a partir de la polaritzaci\u00f3 d’est\u00e8tiques i posicions ideol\u00f2giques durant la Guerra Freda, va portar els termes “formalista” i “formalisme” a no pocs malentesos i carrerons sense sortida. Simplificant molt, podr\u00edem dir que hi ha un formalisme “bo” i un altre “dolent”. El cinema de Serra pertany al primer.<\/p>\n

Roland Barthes va comentar una vegada (a Mitologies<\/em>) que “si la cr\u00edtica hist\u00f2rica no s’hagu\u00e9s sentit tan terroritzada pel fantasma del ‘formalisme’, potser hauria estat menys est\u00e8ril; hauria compr\u00e8s que l’estudi espec\u00edfic de les formes no contradiu en absolut els principis necessaris de la totalitat i de la hist\u00f2ria”. Afegia Barthes que quan un sistema \u00e9s m\u00e9s espec\u00edficament definit en les seves formes, m\u00e9s d\u00f2cil es mostra a la cr\u00edtica hist\u00f2rica. I acabava la seva reflexi\u00f3 amb un dels seus subtils doblecs: “Parodiant una dita coneguda, dir\u00e9 que una mica de formalisme s’allunya de la hist\u00f2ria; molt, s\u2019hi apropa”. Aquesta \u00faltima frase semblaria apropiada per a aquesta manera de fer cinema, on l’\u00e8mfasi dipositat en els aspectes formals genera un naturalisme que lluny de semblar for\u00e7at sembla transmetre una imatge del passat sensible i cre\u00efble o, si volem utilitzar una paraula male\u00efda, “veritable”.<\/p>\n

Per\u00f2 passa que all\u00f2 interessant d\u2019Hist\u00f2ria de la meva mort<\/em> (i la resta del seu cinema) est\u00e0 en que aquesta imatge del passat \u00e9s completament m\u00edtica, irreal, ficcional. La trobada entre Casanova i Dr\u00e0cula \u00e9s tan absurda com surrealista. Per\u00f2 el que les imatges, les paraules i el so transmeten no pot en cap cas ser passat per alt. El comprom\u00eds de Serra est\u00e0 amb i en la ficci\u00f3. Aquest \u00e9s el seu territori. Aquest, i tamb\u00e9 el treball amb els no actors, el rodatge, el cinema com a invenci\u00f3 de realitat. Tot formalista com cal comen\u00e7a imposant unes regles molt estrictes que no abandona mai. Ser fidel a si mateix, per\u00f2 de vegades flexible tamb\u00e9. Un altre tret: operar dial\u00e8cticament entre la totalitat i les parts. Prestar atenci\u00f3 al detall i partir del detall rebutjant les consideracions morals que el contingut sempre imposa: la trama, la idea original, el gui\u00f3 i nos\u00e9quantes altres regles de la ind\u00fastria de fer pel\u00b7l\u00edcules.<\/p>\n

Possiblement no hi haur\u00e0 ara mateix al m\u00f3n altre cineasta que parli m\u00e9s de com el seu cinema est\u00e0 fet, que parli de la t\u00e8cnica, dels aspectes formals que Serra. Sembla m\u00e9s un artista que un cineasta. Per\u00f2 igual que tots els Forerunners<\/em> de l’art, la t\u00e8cnica per se sol importa com a mitj\u00e0 per aconseguir uns efectes o objectius. En tot artista veritable la transgressi\u00f3 per la transgressi\u00f3 no existeix. Les regles es trenquen per a alguna cosa. El m\u00e8tode de treball i sobretot la complicada t\u00e8cnica de muntatge de Serra el situen com un formalista que passa per fr\u00edvol, encara que ell sap molt b\u00e9 el que es fa.<\/p>\n

En el curs d’una entrevista a la revista Cinema Scope, Serra parlava en el seu to habitual que la seva \u00faltima pel\u00b7l\u00edcula \u00e9s “unfuckable” per la cr\u00edtica. Volia dir que o l\u2019agafes per complet o la deixes de la mateixa manera. Argumentava el m\u00e8tode emprat on la realitat de la pel\u00b7l\u00edcula existeix \u00fanicament en i per a la pantalla, com una realitat aut\u00f2noma que no pot confrontar sin\u00f3 en la fantasia de l’espectador, i no en aquestes cl\u00e0ssiques disquisicions de la cr\u00edtica de cinema convencional entre el concepte i els resultats, ja se sap, concepte, gui\u00f3, interpretaci\u00f3, argument, trama, etc. Albert Serra al\u00b7ludeix a una noci\u00f3 de totalitat que \u00e9s, aquest s\u00ed, un altre tret formalista. En aquesta totalitat caben infinits moments de delit, ironia, harmonia i tamb\u00e9 enorme bellesa. O el abraces, o el rebutges. Jo ja he decidit.<\/p>\n","protected":false},"excerpt":{"rendered":"

Per una q\u00fcesti\u00f3 d’extensi\u00f3 em limitar\u00e9 aqu\u00ed a la pel\u00b7l\u00edcula d’Albert Serra, Hist\u00f2ria de la meva mort, i no a la seva gaireb\u00e9 sempre controvertida figura p\u00fablica. Les advert\u00e8ncies que…<\/p>\n","protected":false},"author":1261,"featured_media":8635,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nAlbert Serra el formalista – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/ca\/magazine\/albert-serra-el-formalista2777\/\" \/>\n<meta property=\"og:locale\" content=\"ca_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Albert Serra el formalista – A*Desk\" \/>\n<meta property=\"og:description\" content=\"Per una q\u00fcesti\u00f3 d’extensi\u00f3 em limitar\u00e9 aqu\u00ed a la pel\u00b7l\u00edcula d’Albert Serra, Hist\u00f2ria de la meva mort, i no a la seva gaireb\u00e9 sempre controvertida figura p\u00fablica. 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