"Sevillanas"--director, Carlos Saura
(478 Wörter in diesem Text)
(2213 mal gelesen) 
"Sevillanas"--director, Carlos Saura
Paco de Luc?a, Lola Flores, Roc?o Jurado, Manuela Carrasco, Camar?n, Tomatito, Manolo Sanlucar, Manuel Pareja Obregon
1992/55 minutes
Distributed in the U.S. by Meridian Video Corporation
http://www.meridianvideo.com
Sevillanas are a folkloric song and dance form from Andalusia heavily influenced by flamenco. Although the musical structure is determined by the set structure of the dance, sevillanas can be sung and danced in a wide variety of styles as illustrated by this marvelous film. The famous Spanish director Carlos Saura, no stranger to flamenco (witness the trilogy of flamenco dance films with Antonio Gades in the 1980s?Blood Wedding, Carmen, El Amor Brujo), was commissioned to create this short film on the quintessential song and dance form of Andalusia for the 1992 World?s Fair held in Seville. Saura explores the length and breadth of the music and dance form called sevillanas through ten distinct interpretations. While the basic structure of the music is always the same, its interpretation and that of the accompanying dance ranges widely, from folkloric to feria, from escuela bolero to Roc?o.
The film begins with a group of elders from the town of Lebrija singing and dancing a very folkloric style of sevillanas. At the other end of the spectrum is the bolero style, which emphasizes the dance?s affinity with Spanish classical dance. Along the way there is a marvelous interpretation by the pianist-composer Manuel Pareja Obregon accompanying the refined dancing of the great Matilde Coral: the music as much Chopin as it is folklore.
Not to be missed are the Roc?o pilgrims dressed in country costumes and riding boots dancing the night away to sevillanas whose verses celebrate the Virgin of Roc?o, the patron saint of this yearly religious festival. Devotion to sevillanas often goes hand-in-hand with devotion to La Paloma Blanca.
There are also two flamenco variations on sevillanas. The first pairs the dancer Merche Esmerelda with Manolo Sanlucar on guitar and a host of percussion, ranging from palmas and nudillos to frame drum and caj?n, giving the music a funky and very modern flamenco sound. The second variation, capturing the essence of flamenco, features Camar?n and Tomatito with the dancing of Manuela Carrasco. They give us a very Gypsy, very flamenco take on sevillanas. Not exactly cante jondo, but neither is it the frilly and light-hearted feria style of music and dance immortalized at Seville?s glittering April fair each year.
Roc?o Jurado and a bevy of young dancers close out the film in all their feria finery. With a touching bit of irony, Roc?o Jurado completes the circle began by the elders of Lebrija; the final segment representing Seville?s April fair showcases the dancers of the future dancing to the same song as the elders of Lebrija at the beginning of the film, albeit sung in a very different style. The vitality, versatility and expressive range of this popular song and dance form is richly celebrated in this compelling film.
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