Friday 24, 20:30h
Faustfilm: An Opera Part 1 + Faust's Other: An Idyll
- Faustfilm: An Opera Part 1 (Stan Brakhage, 1987, colour, sound, 16 mm, 44 min)
A collaboration between composer Rick Corrigan and Stan Brakhage, featuring Joel Haertling as Faust, Gretchen LeMaistre as Gretchen, Phillip Hathaway as Faust's friend, and Paul Lundahl as Servant. This is the realization of a 30-year-old-dream (grant applications and fragments of script from the 1950s published in Brakhage's Metaphors on Vision), a wish of the young filmmaker to film a "modern" Faust (quite opposite of the traditional Fausts) which finally came to a fulfillment as unpredictable and as absolute as, say, three decades of living experience.
- Faust's Other: An Idyll (Stan Brakhage, 1988, colour, sound, 16 mm., 45 min)
Faust Part 2 reveals the modern Faust in a romantic interlude, an idyll (from the Greek idein, "to see"); also, a journey of the id. A sense of story is inferred through the complex interweaving of human gesture, expression, and bodily movement within vibrantly shifting colors and rhythmic development, creating multiple levels of metaphorical meaning. A collaborative work with paintings by Emily Ripley and soundtrack by Joel Haertling.
Saturday 25, 18:00h
Faust 3: Candida Albacore + Faust 4
- Faust 3: Candida Albacore (Stan Brakhage, 1988, colour, sound, 16 mm. 26 min)
Just as the word "Idyll" of Faust's Part 2 is rooted in the Greek "idein" / "to see," so is "Candida" in "candidatus," as used in "the white robed army of martyrs" of the "Te Deum," as well as "Albicare" / "to be white" or "Albicore" out of the Portuguese (of Arabic origin) designating a kind of tunny (or white tuna): thus, Faust's 3 is white / white as well as (from sugar's "white") candy, and fish: it is the modern Walpurgisnacht to Faust, but the daydream of "his" Emily: it exists that a woman have, finally, something of her ritual included in the myth of Faust ... and that "muthos" / "mouth" become a vision.
- Faust 4 (Stan Brakhage, colour, sound, 16 mm, 38 min)
Music by Rick Corrigan.
This is the imaged thought process of young Faust escaping the unbearable pictures of his broken romantic idyll, mentally fleeing the particulars of his dramatized "love," Faust's mind ranging the geography of his upbringing and its structures of cultural hubris - the whole nervous system "going to ground" and finally "becoming one" with the hypnagogically visible cells of his receptive sight and inner cognition ... all that I could give him of Heaven in this current visualization of these ancient themes.