{"id":54417,"date":"2015-04-03T05:50:30","date_gmt":"2015-04-03T05:50:30","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=54417"},"modified":"2022-01-04T17:14:32","modified_gmt":"2022-01-04T16:14:32","slug":"ray-y-wright-jorge-gorostiza","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/ray-y-wright-jorge-gorostiza\/","title":{"rendered":"Ray y Wright | Jorge GorostizaRay e Wright | Jorge GorostizaRay and Wright | Jorge Gorostiza"},"content":{"rendered":"

\"\"<\/a>
Nicholas Ray<\/span><\/figcaption><\/figure><\/p>\n

Raymond Nicholas Kienzie, que\u00a0siempre ser\u00e1 para todos Nicholas Ray<\/a>, tuvo la gran oportunidad en los primeros a\u00f1os treinta de ser aprendiz de Frank Lloyd Wright<\/a> en Taliesin<\/a> durante un a\u00f1o.<\/p>\n

Tal como le cont\u00f3 a Kathryn Bigelow<\/a> en una de sus \u00faltimas\u00a0entrevistas:<\/p>\n

\n

\u00abyo estaba estudiando teatro en Nueva York, pero desde que hab\u00eda llegado de Wisconsin sol\u00eda detenerme en su casa de vez en cuando. Vino a la Universidad de Columbia a dar una conferencia. Fui a o\u00edrle y al final lo felicit\u00e9. Dimos un paseo juntos y me pregunt\u00f3 si me convertir\u00eda en uno de su primeros estudiantes y fui all\u00ed a hacer teatro\u00bb.<\/em><\/p>\n<\/blockquote>\n

Charles Bitsch\u00a0<\/a>entrevist\u00f3\u00a0a Ray en febrero de 1957\u00a0para Cahiers du Cinema<\/a><\/em> y le pregunt\u00f3 c\u00f3mo empez\u00f3 a trabajar con Wright:<\/p>\n

\n

\u00abLa arquitectura es la espina dorsal de todas las artes; ya sabes, si es aut\u00e9ntica arquitectura, engloba cada dominio. La simple palabra arquitectura puede aplicarse tanto a una obra de teatro como a una partitura o a un modo de vida. Frank Lloyd Wright le dio a todos los j\u00f3venes del mundo la oportunidad de encontrarse, de practicar la arquitectura, de vivir una vida en com\u00fan, y de intercambiar experiencias y puntos de vista. No hab\u00eda muchos estadounidenses entre los treinta y cinco j\u00f3venes que estuvieron al principio con Frank Lloyd Wright, pero hab\u00eda nicarag\u00fcenses, japoneses, franceses, daneses, suizos y chinos, algunos eran escultores como Noguchi, m\u00fasicos como Brooks y otros pintores\u00bb.<\/em><\/p>\n<\/blockquote>\n

Tambi\u00e9n le pregunt\u00f3 si hay influencia de Wright en la arquitectura de las casas de La casa en la sombra<\/a><\/em> y Johnny Guitar<\/a><\/em>:<\/p>\n

\n

\u00abNo. Yo dir\u00eda que la influencia m\u00e1s obvia que Wright tuvo en m\u00ed, aparte de una especie de actitud filos\u00f3fica\u2026 no, no una actitud filos\u00f3fica, sino una cierta manera de mirar a las cosas, es mi gusto por el CinemaScope. Me gusta la l\u00ednea horizontal y lo horizontal era esencial para Wright. Me gusta mucho el formato del CinemaScope y cuando tengo libertad para usarlo como me place, como en Rebelde sin causa, me da mucha satisfacci\u00f3n hacerlo. Pero en las dos pel\u00edculas que has mencionado, la arquitectura estaba tan determinada por el tiempo y el lugar que no era como la de Frank Lloyd Wright y no deb\u00eda nada a la influencia que tuvo sobre m\u00ed. Us\u00e9 objetos, como el tronco el \u00e1rbol para Ida [Lupino], que son, es cierto, el tipo de accesorios que se pod\u00edan haber encontrado en el estar de una villa de Frank Lloyd Wright, pero en la estructura, en la misma arquitectura, no hay influencias de Frank Lloyd Wright. Sin embargo, en Johnny Guitar\u2026 es dif\u00edcil decirlo, necesit\u00e9 un momento casi arbitrariamente dram\u00e1tico para colocar la blancura del vestido de Vienna sobre las rocas rojas, pero creo que pocas veces puedes determinar la influencia exacta que has recibido, de d\u00f3nde viene tu gusto por algo, o c\u00f3mo ese gusto evolucion\u00f3\u00bb.<\/em><\/p>\n<\/blockquote>\n

Nunca se sabe si las influencias mencionadas por los creadores son reales en el momento en el que se est\u00e1 produciendo una obra o se buscan despu\u00e9s\u00a0a trav\u00e9s incluso de lo\u00a0que otros han escrito sobre esa obra. Sin embargo, aqu\u00ed quedan las opiniones de Ray sobre Wright -hubiera sido interesante saber las de Wright sobre Ray, si es que el arquitecto ten\u00eda alguna sobre el cineasta- que, al parecer, no acabaron siendo tan buenos amigos como\u00a0lo eran al principio.<\/p>\n

Jorge Gorostiza, arquitecto. Autor del blog Arquitectura+Cine+Ciudad<\/em><\/span>
\nSanta Cruz de Tenerife, febrero 2015<\/p>\n

\"\"<\/a>
Nicholas Ray<\/span><\/figcaption><\/figure><\/p>\n

Raymond Nicholas Kienzie, who always will be for all\u00a0Nicholas Ray<\/a>, had the great opportunity in the first thirties to be an apprentice of Frank Lloyd Wright<\/a> in\u00a0Taliesin<\/a> for one year.<\/p>\n

As it told him\u00a0Kathryn Bigelow<\/a> in one of his last interviews:<\/p>\n

\n

\u00abI was studying theatre in New York, but since I had come from Wisconsin I was in the habit of detaining in his house occasionally. It came to Columbia’s University to give a conference. I went to hear him and ultimately I congratulated it. We gave a walk together and he asked me if I would turn into one of his the first students and I went to do there theatre\u00bb.<\/em><\/p>\n<\/blockquote>\n

Charles Bitsch<\/a> interviewed Ray in February, 1957 for\u00a0Cahiers du Cinema<\/a><\/em> and asked him how it started working with Wright:<\/p>\n

\n

\u00abThe architecture is the backbone of all the arts; already you know, if it is an authentic architecture, it includes every domain. The simple word architecture can be applied both to a play and to a score or to a way of life. Frank Lloyd Wright gave to all the young persons of the world the opportunity to be, to practise the architecture, to live through a life jointly, and of exchanging experiences and points of view. There were no many Americans between thirty five young persons who were initially with Frank Lloyd Wright, but there were Nicaraguans, Japanese, Frenchmen, Danishes, Swisses and Chinese, some they were sculptors as Noguchi, musicians like Brooks and other painters\u00bb.<\/em><\/p>\n<\/blockquote>\n

Also he asked him if there is Wright’s influence in the architecture of the houses of\u00a0The house in the shade<\/a><\/em> and Johnny Guitar<\/a><\/em>:<\/p>\n

\n

\u00abNot. I would say that the most obvious influence that Wright had in me, apart from a species of philosophical attitude \u2026 not, not a philosophical attitude, but a certain way of looking at the things, is my taste for the CinemaScope. I like the horizontal line and the horizontal thing was essential for Wright. I like much the format of the CinemaScope and when I have freedom to use it like me place, since in Rebel without reason, give myself many satisfaction to do it. But in both movies that you have mentioned, the architecture was so determined by the time and the place that was not like that of Frank Lloyd Wright and did not owe anything to the influence that had on me. I used objects, as the trunk the tree for Going [Lupino], which they are, it is true, the type of accessories that they could have found in to be of Frank Lloyd Wright’s villa, but in the structure, in the same architecture, there are no Frank Lloyd Wright’s influences. Nevertheless, in Johnny Guitar \u2026 it is difficult to say it, I needed an almost arbitrary dramatic moment to place the whiteness of Vienna’s garment on the red rocks, but I think that rarely you can determine the exact influence that you have received, wherefrom your taste comes for something, or how this taste evolved\u00bb.<\/em><\/p>\n<\/blockquote>\n

It is never known if the influences mentioned by the creators are royal in the moment in the one that is producing a work to him or are looked later to enclosed slant of what others have written on this work. Nevertheless, here Ray’s opinions stay on Wright – it had been interesting to know those of Wright on Ray, if it is that the architect had someone on the filmmaker – that, apparently, they did not end up by being so good friends since they it were initially.<\/p>\n

Jorge Gorostiza, architect. Author of the blog Arquitectura+Cine+Ciudad<\/em><\/span>
\nSanta Cruz de Tenerife, february 2015<\/p>\n

\"\"<\/a>
Nicholas Ray<\/span><\/figcaption><\/figure><\/p>\n

Raymond Nicholas Kienzie, que sempre ser\u00e1 para todo\u00a0Nicholas Ray<\/a>, tivo a grande oportunidade nos primeiros anos trinta de ser aprendiz de\u00a0Frank Lloyd Wright<\/a> en\u00a0Taliesin<\/a> durante un ano.<\/p>\n

Tal como lle contou a Kathryn Bigelow<\/a> nunha das s\u00faas derradeiras entrevistas:<\/p>\n

\n

\u00abeu estaba a estudar teatro en Nova York, pero dende que chegara de Wisconsin adoitaba determe na s\u00faa casa de cando en vez. Vi\u00f1o \u00e1 Universidade de Columbia a dar unha conferencia. Fun a o\u00edlo e ao final feliciteino. Demos un paseo xuntos e preguntoume se me converter\u00eda nun do seu primeiros estudantes e fun al\u00ed a facer teatro\u00bb.<\/em><\/p>\n<\/blockquote>\n

Charles Bitsch <\/a>entrevistou a Ray en febreiro de 1957 para Cahiers du Cinema<\/a><\/em> e preguntoulle como empezou a traballar con Wright:<\/p>\n

\n

\u00abA arquitectura \u00e9 a espi\u00f1a dorsal de todas as artes; xa sabes, se \u00e9 aut\u00e9ntica arquitectura, engloba cada dominio. A simple palabra arquitectura pode aplicarse tanto a unha obra de teatro coma a unha partitura ou a un modo de vida. Frank Lloyd Wright deulle a todos os mozos do mundo a oportunidade de encontrarse, de practicar a arquitectura, de vivir unha vida en com\u00fan, e de intercambiar experiencias e puntos de vista. Non hab\u00eda moitos estadounidenses entre os trinta e cinco mozos que estiveron ao principio con Frank Lloyd Wright, pero hab\u00eda nicaraguanas, xaponeses, franceses, daneses, su\u00edzos e chineses, alg\u00fans eran escultores como Noguchi, m\u00fasicos como Brooks e outros pintores\u00bb.<\/em><\/p>\n<\/blockquote>\n

Tam\u00e9n lle preguntou se hai influencia de Wright na arquitectura das casas de A casa na sombra<\/a><\/em> e Johnny Guitar<\/a><\/em>:<\/p>\n

\n

\u00abNon. Eu dir\u00eda que a influencia m\u00e1is obvia que Wright tivo en min, \u00e1 parte dunha especie de actitude filos\u00f3fica… non, non unha actitude filos\u00f3fica, sen\u00f3n certo xeito de mirar \u00e1s cousas, \u00e9 o meu gusto polo CinemaScope. G\u00fastame a li\u00f1a horizontal e o horizontal era esencial para Wright. G\u00fastame moito o formato do CinemaScope e cando te\u00f1o liberdade para usalo como me prace, como en Rebelde sen causa, d\u00e1me moita satisfacci\u00f3n facelo. Pero nas d\u00faas pel\u00edculas que mencionaches, a arquitectura estaba tan determinada polo tempo e o lugar que non era como a de Frank Lloyd Wright e non deb\u00eda nada \u00e1 influencia que tivo sobre min. Usei obxectos, como o madeiro a \u00e1rbore para Ida [Lupino], que son, \u00e9 certo, o tipo de accesorios que se pod\u00edan ter encontrado no estar dunha vila de Frank Lloyd Wright, pero na estrutura, na mesma arquitectura, non hai influencias de Frank Lloyd Wright. Non obstante, en Johnny Guitar… \u00e9 dif\u00edcil dicilo, necesitei un momento case arbitrariamente dram\u00e1tico para colocar a brancura do vestido de Vienna sobre as rochas vermellas, pero creo que poucas veces podes determinar a influencia exacta que recibiches, de onde v\u00e9n o teu gusto por algo, ou como ese gusto evolucionou\u00bb.<\/em><\/p>\n<\/blockquote>\n

Nunca se sabe se as influencias mencionadas polos creadores son reais no momento no que se est\u00e1 a producir unha obra ou b\u00fascanse despois a trav\u00e9s mesmo do que outros escribiron sobre esa obra. Non obstante, aqu\u00ed quedan as opini\u00f3ns de Ray sobre Wright -ter\u00eda sido interesante saber as de Wright sobre Ray, se \u00e9 que o arquitecto ti\u00f1a algunha sobre o cineasta- que, ao parecer, non acabaron sendo tan bos amigos como o eran ao principio.<\/p>\n

Jorge Gorostiza, arquitecto. Autor do blogue Arquitectura+Cine+Cidad<\/em><\/span>e<\/p>\n

Santa Cruz de Tenerife, febreiro 2015<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Raymond Nicholas Kienzie, que\u00a0siempre ser\u00e1 para todos Nicholas Ray, tuvo la gran oportunidad en los primeros a\u00f1os treinta de ser aprendiz de Frank Lloyd Wright en Taliesin durante un a\u00f1o. Tal como le cont\u00f3 a Kathryn Bigelow en una de sus \u00faltimas\u00a0entrevistas: \u00abyo estaba estudiando teatro en Nueva York, pero desde que hab\u00eda llegado de […]<\/p>\n","protected":false},"author":34,"featured_media":54419,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,1460,5951],"tags":[9132,11783,12471,4396,1565,2427,502,605,1593,11782,11781],"class_list":["post-54417","post","type-post","status-publish","format-standard","has-post-thumbnail","category-capturas","category-cine","category-slider-principal","tag-arquitectura-norteamericana","tag-charles-bitsch","tag-cine","tag-cineastas","tag-escenario","tag-escenario-artistico","tag-escenografo","tag-frank-lloyd-wright","tag-jorge-gorostiza","tag-kathryn-bigelow","tag-nicholas-ray"],"yoast_head":"\nRay y Wright | Jorge Gorostiza<\/title>\n<meta name=\"description\" content=\"Ray y Wright\" \/>\n<meta name=\"robots\" content=\"index, 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He publicado bastantes libros y muchos art\u00edculos, he impartido conferencias, he sido comisario de exposiciones y jurado en much\u00edsmos festivales. Si quieren saber m\u00e1s no duden en consultar mi blog ARQUITECTURA + CINE + CIUDAD. En este blog se ir\u00e1n recogiendo art\u00edculos y textos dispersos por la Web, as\u00ed como otros publicados y libres de derechos, que traten sobre Cine, Arquitectura y Ciudad. As\u00ed quienes est\u00e9n interesados por las relaciones entre la ficci\u00f3n y la realidad, podr\u00e1n tener m\u00e1s argumentos para profundizar en esas relaciones. No es un blog en el que se vayan a hacer comentarios sobre las vivencias personales de su responsable, que adem\u00e1s a nadie interesan. 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