Kentridge’s Nose
Abstract
The author compares Gogol’s Nose with Dmitri Shostakovich’s opera based on this play, performed in the metropolitan opera in New York. The fact that the composer’s biographer Solom Volkov first recognized that the play was an autobiographical work, serves as a incentive for the analysis of the complexity of the composer’s life. Giżycki then deals with William Kentridge - the director and stage director of the New York production of the play. Giżycki analyses nine films Kentridge made in the years 1989-2003. The films form a cycle, whose main character is Soho Eckstein, a fictitious industry magnate. The author also describes how Kentridge uses his experience as an animator in his theatre and opera productions, which always feature film screenings (e.g. in Shostakovich’s Nose).
Keywords:
Dmitri Shostakovich, Solom Volkov, William Kentridge, operaReferences
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Authors
Marcin Giżyckikwartalnik.filmowy@ispan.pl
Rhode Island School of Design United States
Krytyk i historyk sztuki. Wykładowca w Rhode Island School of Design w USA. Opublikował m.in. Słownik kierunków, ruchów i kluczowych pojęć sztuki drugiej połowy XX wieku (2002), Wenders do domu! Europejskie filmy o Ameryce i ich recepcja w Stanach Zjednoczonych (2006).
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Copyright (c) 2010 Marcin Giżycki
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