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In the early sixties, films featuring dialogue by Michel Audiard exploded with panache and wit. Was this exuberant combination a nod to the French heroic model, inherited from Rostand but tuned to that of the Resistance which made a comeback in comic and consensual war movies at the time ? This paper attempts to show that the snappy dialogue and wit that embue Audiard's characters is more an appeal for sociability at a time when it had been much weakened by the abuses and hypocrisies of the “Épuration,” and was now threatened by the unanimous imperative of General de Gaulle's return to power in the midst of the Algerian crisis, and the forceful changes in the private sphere of a modern lifestyle taking hold in the late fifties. This desire for sociability places Audiard alongside those moralists he admires. Sociability must be rebuilt to regain faith in the possible links between friends, neighbors and strangers, while abandoning the heroic model. The witty dialogue reintroduced a theatricality in the public space that had been lost, and in private relationships represented in films, thus revitalizing the pleasures of sociability. The verbal dexterity dramatizes interactions and produces a small community of others that includes or excludes the viewer, witness and judge of words that find their target. The community that Audiard's films create or project is associated with the social pleasure of the joke (Freud) and especially the ridiculous borne collectively. Because it is forged through exchange, it is limited to exchange, regardless of the communities' shared values which Audiard, Brassens and others of his generation viewed with suspicion.
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87.More information
This article reviews a certain number of findings derived from studies of improvisation, which primarily concern the notion of ‘model'. This notion is of limited value when trying to capture the very process of improvisation, to grasp the unexpected, and even to closely examine the musical strategies adopted in the instant. Moreover, in many oral traditions – the inventory of which is far from completed – the structural regularities and the notion of model seem problematic. This phenomenon was already noticed by Bartók with respect to the peasant musics of Rumania, and is here further examined. So it is that in the north of Rumania, in Oach, violinists (often of gypsy heritage) are asked, for a fee, not to reproduce fixed forms, but rather to produce as many short modal motifs as possible in order to ‘lure' the singers. During these unpredictable performances, these singers extract their own personal /dants/ from this set of motives, i.e., a complete melody which belongs to them alone and which is not to be confused with any of the melodies used by their rival singers.
Keywords: ethnomusicologie, modèle, performance, tradition orale, Béla Bartók, ethnomusicology, model, performance, oral tradition, Béla Bartók