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Moses und Aron (Straub-Huillet, 1975): uma dialética de resistência à esteticização da política
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Moses und Aron (1930-32), ópera inacabada de Arnold Schoenberg — escrita a partir do Livro do Êxodo e musicada em contexto do exílio do autor face à ameaça nazi — põe em cena o conflito bíblico entre o profeta Moisés e o seu irmão Aarão no quadro do problema de dar a ver, às tribos hebraicas libertadas do Egipto, o Deus invisível do monoteísmo. O problema, de natureza histórica, é o do “nascimento de uma nação” cujo ponto de partida é a radicalidade de uma nova lei inconcebível — projecto simultaneamente ideal e prático,
místico e político: a criação de um povo livre. A presente dissertação procurará examinar como, no filme homónimo de 1975, Jean-Marie Straub e Danièle Huillet analisam a ópera por via das especificidades do seu método cinematográfico, numa planificação erigida em função do choque dialéctico entre os protagonistas e destes com o povo hebreu. As formas através das quais Straub-Huillet evitam fazer um Bezerro de Ouro fílmico, na prevalência de uma fala que resiste ao império da representação da “sociedade do espectáculo”(i.e. à esteticização da política que serve de alicerce ao seu projecto ideológico), são o foco deste trabalho, como possível chave para uma compreensão adequada do carácter utópico em que assenta a crítica anti-imperialista que atravessa a obra destes cineastas.
Moses und Aron (1930-32), the unfinished opera by Arnold Schoenberg, written after the Book of Exodus and set to music in the context of exile in the face of Nazi threat, brings to new light the biblical conflict between the prophet Moses and his brother Aaron, which frames the problem of making known the inconceivable monotheistic God to the Hebrew tribes liberated from Egypt. This problem, of a historical nature, is that of the “birth of a nation” whose starting point is the radicality of a new and unimaginable law — a project that is both ideal and practical, mystical and political: the formation of a free people. This dissertation will seek to examine how, in the 1975 homonymous film, Jean-Marie Straub and Danièle Huillet analyze the opera through the specificities of their cinematographic method, in a découpage shaped to the dialectical clash between the protagonists, and between them and the Hebrew people. The forms by which the filmmakers avoid creating a filmic Golden Calf, with the prevalence of an act of speech that resists the “society of the spectacle” and its empire of representation (i.e. the “aestheticization of politics” that underpins its ideological project), isthe focus of this work as a possible key to an adequate understanding of the utopian aspect in which lies the anti-imperialist criticism that runs through the entire work of Straub and Huillet.
Moses und Aron (1930-32), the unfinished opera by Arnold Schoenberg, written after the Book of Exodus and set to music in the context of exile in the face of Nazi threat, brings to new light the biblical conflict between the prophet Moses and his brother Aaron, which frames the problem of making known the inconceivable monotheistic God to the Hebrew tribes liberated from Egypt. This problem, of a historical nature, is that of the “birth of a nation” whose starting point is the radicality of a new and unimaginable law — a project that is both ideal and practical, mystical and political: the formation of a free people. This dissertation will seek to examine how, in the 1975 homonymous film, Jean-Marie Straub and Danièle Huillet analyze the opera through the specificities of their cinematographic method, in a découpage shaped to the dialectical clash between the protagonists, and between them and the Hebrew people. The forms by which the filmmakers avoid creating a filmic Golden Calf, with the prevalence of an act of speech that resists the “society of the spectacle” and its empire of representation (i.e. the “aestheticization of politics” that underpins its ideological project), isthe focus of this work as a possible key to an adequate understanding of the utopian aspect in which lies the anti-imperialist criticism that runs through the entire work of Straub and Huillet.
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Palavras-chave
Política Resistência Realismo Representação Dialéctica Espectáculo Fascismo Deserto Fala Utopia Realism Representation Dialectic Spectacle Fascism Wilderness Speech