Vi siete mai chiesti che sapore avesse la famosa madeleine proustiana? Era dolce, profumata? Aveva una consistenza friabile o più corposa? Chiunque abbia letto Alla ricerca del tempo perduto ha di certo immaginato questa scena cercando di riprodurre mentalmente le suggestioni “sinestetiche” che Marcel Proust stesso sperimenta durante l’assaggio del biscotto dell’infanzia. Ancora, quali emozioni potrebbe suscitare la vista e l’assaggio del succulento boeuf en daube che anima alcune pagine di Gita al faro di Virginia Woolf?
Il cibo che si trova al centro di questa come di altre scene “letterarie” crea un ponte tra l’immaginazione e i sensi, sollecitando sia la nostra parte razionale che emotiva. il “gusto”, principe dei sensi, è infatti capace di evocare e di attivare contemporaneamente molteplici dispositivi della memoria.
“Love in the times of cholera” (Gabriel Garcia Màrquez)
The Bell Jar (Sylvia Plath)- raffinata interpretazione di un romanzo delle inquietudini. L’insalata di avocado è sovrastata dalla campana di vetro, dentro cui la protagonista rinchiude simbolicamente la sua esistenza, caratterizzata da un’incomunicabilità morbosa.
Immaginare, sì. Ma c’è chi ha fatto un passo ulteriore, cercando di ricreare visivamente il set dei romanzi in cui l’elemento gastronomico rivestisse una particolare funzione espressiva. Questo è l’idea centrale del progetto “Fictitious Feasts” del fotografo francesce Charles Roux, giovane e talentuoso fotografo formatosi alla scuola di fotografia Icart Photo di Parigi, e laureato in letteratura inglese e spagnola. Venticinque fotografie che riproducono più o meno fedelmente scene di romanzi delle letteratura europea, e americana, Garcia Marquez, Melville, Kafka, Woolf, Salinger, Plath per citarne solo alcuni.
Jane Eyre (Charlotte Bronte) Qui la scena in cui Jane Eyre e Helen Burns mangiano una torta davanti al tepore del camino. L’atmosfera confortevole è resa nei minimi particolari, che Roux ha ricreato sfruttando i colori caldi del legno e del fuoco vivo.
Il progetto dei “banchetti finzionali”, ambizioso e creativo, ha spinto l’immaginazione oltre i confini dell’esperienza della lettura per fare immergere lo spettatore in un’esperienza totale. Basti pensare che Charles non solo ha allestito il set ma ha preparato i pasti, assaggiandoli per rendere la scena ancora più credibile. E anche se il gusto non è “visibile”, la fotografia di Charles Roux ci mette in comunicazione diretta con quella parte immaginativa che fa appello alle nostra memoria profonda, quella della nutrizione come atto istintivo, culturale e simbolico. Per meglio comprendere come è nato ed è stato realizzato il progetto ho intervistato Charles, che ha ampiamente soddisfatto le mie curiosità letterarie. A seguire la mia intervista.
Bon appetit!
Io- Come è nata l’idea di realizzare “Fictitiuos feasts”?
Ch- Ho letto molto e tuttora leggo. Facevo foto solo da pochi anni ma sono stato sempre un lettore appassionato. L’idea iniziale era di creare un progetto che avesse a che fare con la letteratura. Il tema del cibo è venuto dopo. Mi vennero immediatamente in mente una serie di immagini e titoli di libri. Allora mi dedicai con sempre maggiore interesse a questa ricerca.
Io- La fotografia contemporanea ha dialogato spesso con le arti visive, con svariati intenti. Cindy Sherman per esempio ha riprodotto con intenti parodici alcune tra le opere più importanti dell’arte rinascimentale e barocca, etc. Qual è il tuo rapporto con la letteratura?
Ch.La letteratura è stata innanzitutto in luogo dove potevo trovare me stesso. Da piccolo trovavo rifugio nella letteratura; ero solo e avevo bisogno di stimoli: creatività, immaginazione. Ho letto molto sull’uomo, sul suo mondo sulla sua storia. Ho letto libri di tutti i tipi ma soprattutto romanzi.
Io- il rapporto tra cibo e letteratura è ricco di esempi interessanti. Le modalità di rappresentazione del cibo sono, nel mondo finzionale, innumerevoli . Qual è stato il criterio di scelta dei romanzi e delle scene dedicate al cibo da riprodurre?
Ch. Il cibo si trova in un numero sterminato il libri, ma io ho voluto creare delle immagini tratte da libri in cui il cibo avesse realmente un significato. Ogni scena di cibo doveva risultare interessante perché il cibo rivestiva un ruolo particolare o perché era ‘iconico’, simbolico. Mi sono chiesto perché gli scrittori utilizzassero il cibo
Io- Sei rimasto fedele a queste descrizioni o hai aggiunto degli elementi nuovi nel set, come oggetti di contorno, effetti di luce, nuovi dettagli?
Ogni libro e ogni foto hanno costituito una sfida diversa. Ho cercato di seguire le descrizioni del libro , ma ho scelto anche di rimanerne libero.. A volte le descrizioni erano opache o carenti, così avevo bisogno di .aggiungere qualcosa, In questo caso era molto più divertente. Ho prestato molta attenzione ai dettagli, ma la cosa più importante per me è creare un’atmosfera. L’atmosfera che sentivo in quanto lettore. Perché io, innanzitutto sono un lettore. Ho analizzato le storie e usato i simboli che ne facevano parte. Molti dettagli si trovano nelle foto non perché erano descritti nei libri ma perché raccontavano qualcosa che si trovava nel libro. Questa è una lettura personale, ovviamente.
Io- In un certo senso hai “dato vita” a delle immagini puramente finzionali; tecnicamente la tua è un’ekphrasis al contrario, cioè una riproduzione visiva di un frammento narrativo. Pensi che la fotografia abbia il potere di colmare la distanza tra parola e immagine, da sempre in lotta per il primato della rappresentazione?
Ch- Alla fotografia si chiede di essere fedele alla realtà . Questo è il motivo per cui usiamo la fotografia in pubblicità o per accompagnare le notizie. Ma da un punto di vista artistico, non credo ciò sia necessariamente vero. Io la vedo in maniera differente, uso la fotografia per raccontare storie. La fotografia per me è un medium che uso per fare i conti con la realtà, accettarla, e crearne una tutta mia.
Io- Qual è il piatto preferito di “Fictitious feasts” e perché?
Ch- Il mio “banchetto” preferito è quello di Jane Eyre perché sono divertito molto a realizzarlo. Ho rifatto la foto due volte, in posti differenti, perché non ero soddisfatto del risultato.
Io- Il cibo è di per sé un catalizzatore di percezioni sensoriali. Proust con la “madeleine”, descritta nel romanzo Alla ricerca del tempo perduto, è un celebre esempio di come il cibo possa essere la chiave di volta delle memoria, dell’identità, oltre che un potente ingranaggio della macchina narrativa. Quale significato riveste il cibo nel tuo progetto? Cosa intende comunicare?
Ch- Inizialmente non ero del tutto consapevole fino a che punto e perché “fictitious feast”potesse essere interessante. Ma il cibo si presta molto per creare atmosfere, per descrivere le abitudini dell’uomo, è un pretesto per scrivere altre storie, perché è anzitutto la cosa più naturale del mondo e ci svela molto del perché mangiamo e come. Il cibo significa anche conforto per le persone o terrore, per chi non ne ha abbastanza. Il cibo è ovunque e in tutte le forme. Ha un potere simbolico e non soltanto in letteratura. Ed è anche un’esperienza sensoriale.
Io- E per finire, qual è il tuo piatto preferito?
Ch– Non ho un piatto preferito, mi piace scoprine sempre di nuovi. Ma potrei dire di essere decisamente un amante della carne.
Clicca per vedere tutte le foto del progetto “Fictitious feasts”
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Non conosco tutti i romanzi, per cui sarebbe per me assolutamente fuori luogo andare a cercare una corrispondenza tra la descrizione originaria e la rappresentazione dell’artista. Inoltre, anche se lo facessi, sono ben consapevole del fatto che i libri, a volte, hanno un vantaggio sulla fotografia. Hanno un potere evocativo che agisce in maniera differente su ciascun lettore. Ed è il potere dei libri: pur raccontando una storia in modo oggettivo, lasciano spazi, luoghi, figure e personaggi ad un libero adattamento personale, secondo i propri personalissimi gusti. Il lettore “costruisce” sovrastrutture che più gli piacciono ed è anche un po’ quello che ha fatto l’artista in questo lavoro.
Da fotografo posso invece apprezzare le immagini in sé: pulite, ben composte e attente ai particolari. Personalmente mi sono immaginato a mangiare piacevolmente vicino al camino di “Jane Heyre”, o illuminato dalla vetrata dell’Ulysses, ma mi piace pensarmi anche in un ambiente più raffinato come in “Remembrance of Things Past”, giusto con quei biscottini e il tè caldo. Che mi han fatto venire voglia di merenda. Saluti!
Raffaele Rinaldi.
Grazie Raffaele, mi interessava particolarmente l’opinione di un fotografo.