루키노 비스콘티의 <베니스에서의 죽음>에 나타나는 낭만주의적 세계 (Luchino Visconti’s Romantic Interpretation of Death in Venice by Thomas Mann)

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초록

In this paper I examine the romantic feature in Visconti’s Death in Venice. This film is based on Death in Venice by Thomas Mann in 1912. While Mann’s novel focuses on the balance between reason and sensibility in art, Visconti’s film emphasizes a longing for the sensational beauty. Visconti’s interpretation of the novella is romantic.
The director omits chapter 1 which introduces the motivation that the protagonist, Gustav von Aschenbach, travels to Venice. So the film open not in Munich’s street but on the deck of the ship. In the context of romanticism, a ship’s metaphor is used to describe a means which comes and goes between life and death. And Visconti alters chapter 2 in the novella and eventually invents the flashback episode. In scenes of flashback, the director introduces Ashenbach’s family, a prostitute Esmeralda and the protagonist’s view of art. Through the added scenes, viewers can see the fact that Ashenbach is out of health and especially in an aesthetics debate with his musician friend he is helpless against friend’s attack who argues for the Dionysian side. And Visconti incorporates the character Esmeralda from Mann’s Doctor Faust into the film. Before taking a vacation in Venice in the novella, readers couldn’t imagine that a moral Ashenbach frequented a prostitute quarter. That is Visconti chooses to make Ashenbach weak, complicated and out of balance instead of an Apollonian type in the novella.
Also the director changes the Ashenbach’s profession to a composer, while he is a writer in the novella. Music is regarded as the spell of Dionysus in a series of novels by Mann. In a scene of the flashback Aschenbach performs the Adagietto from Mahler’s Symphony No.5 on the piano, which opens and closes the film. Naturally, we can catch the character’s emotion through Mahler’s Adagietto mood. That is the Adagietto acts as the narrator of the film with no dialogue. As you know, Mahler is the famous Romantic composer and the Adagietto simultaneously sings not only life but also death. The Adagietto describes Ashenbach’s emotion for Tadzio. Meanwhile, the 4 movement from Mahler’s Symphony No.3 and Für Elise of Beethoven imply Tadzio’s dionysiac power which has effect on Ashenbach.
Finally, Visconti regards the beauty of an adolescent Polish boy named Tazio in the same light as nature. Tadzio’s beauty with which Aschenbach becomes obsessed belongs in sublime of nature. The Mis-en-Scene for expressing it in the film remind us of a romantis-era painting, especially Kasper David Fridrich’s work.

영어초록

In this paper I examine the romantic feature in Visconti’s Death in Venice. This film is based on Death in Venice by Thomas Mann in 1912. While Mann’s novel focuses on the balance between reason and sensibility in art, Visconti’s film emphasizes a longing for the sensational beauty. Visconti’s interpretation of the novella is romantic.
The director omits chapter 1 which introduces the motivation that the protagonist, Gustav von Aschenbach, travels to Venice. So the film open not in Munich’s street but on the deck of the ship. In the context of romanticism, a ship’s metaphor is used to describe a means which comes and goes between life and death. And Visconti alters chapter 2 in the novella and eventually invents the flashback episode. In scenes of flashback, the director introduces Ashenbach’s family, a prostitute Esmeralda and the protagonist’s view of art. Through the added scenes, viewers can see the fact that Ashenbach is out of health and especially in an aesthetics debate with his musician friend he is helpless against friend’s attack who argues for the Dionysian side. And Visconti incorporates the character Esmeralda from Mann’s Doctor Faust into the film. Before taking a vacation in Venice in the novella, readers couldn’t imagine that a moral Ashenbach frequented a prostitute quarter. That is Visconti chooses to make Ashenbach weak, complicated and out of balance instead of an Apollonian type in the novella.
Also the director changes the Ashenbach’s profession to a composer, while he is a writer in the novella. Music is regarded as the spell of Dionysus in a series of novels by Mann. In a scene of the flashback Aschenbach performs the Adagietto from Mahler’s Symphony No.5 on the piano, which opens and closes the film. Naturally, we can catch the character’s emotion through Mahler’s Adagietto mood. That is the Adagietto acts as the narrator of the film with no dialogue. As you know, Mahler is the famous Romantic composer and the Adagietto simultaneously sings not only life but also death. The Adagietto describes Ashenbach’s emotion for Tadzio. Meanwhile, the 4 movement from Mahler’s Symphony No.3 and Für Elise of Beethoven imply Tadzio’s dionysiac power which has effect on Ashenbach.
Finally, Visconti regards the beauty of an adolescent Polish boy named Tazio in the same light as nature. Tadzio’s beauty with which Aschenbach becomes obsessed belongs in sublime of nature. The Mis-en-Scene for expressing it in the film remind us of a romantis-era painting, especially Kasper David Fridrich’s work.

참고자료

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