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• Dream Projects in Theatre, Novels and Films: The Works of Paul Claudel, Jean Genet, and Federico Fellini by Yehuda Moraly
• Clare Finburgh Delijani

Dream Projects is about works of which artists can only dream. Works that remain forever unrealized. Works that are abandoned or destroyed. Yehuda Moraly’s premise, rooted in the work of three of the great artists of the twentieth century—Paul Claudel, Jean Genet, and Federico Fellini—is that while these dream works in and of themselves remain eternally inexpressible, they make possible the remainder of the artist’s oeuvre, for which they become the key.

By consulting authors’ notes, drafts, and letters, and examining the testimonies of those with whom they collaborated, Moraly painstakingly reconstructs the abandoned projects “from the birth of the idea through its ripening to the different versions of the project and then to its abandonment, or sometimes its abandonments since the author may come back to the project from a different angle before leaving it once more” (6). Significantly, Moraly deploys the uncompleted works as a prism through which to reevaluate each artist’s entire oeuvre, meaning that his study is of interest to specialists and non-specialists engaging with any aspect of the three artists’ works.

Chapter 1 examines the fourth part that Claudel intended to add to his Coûfontaine trilogy, which was to be a dialogue between a Jewish mother Pensée, her daughter Sarah, and the Pope’s nephew, Orian. Perhaps the fact that Claudel never resolved [End Page 580] this dialogue between Judaism and Christianity, between the Old and New Testaments central to his larger oeuvre, reflects his inability to transcend their contrasts, suggests Moraly.

In chapter 2, Moraly seeks to piece together the work, which was to be entitled La Mort (Death), that occupied almost two decades of Genet’s life and which he abandoned several times. The ultimate work of art which, according to his correspondences with interlocutors including Jean Cocteau and his American translator Bernard Frechtman, was to mirror the world, encapsulating all possible images. Genet imagined that La Mort would found a new aesthetic and morality by taking difference and alterity to extremes. The cycle would feature seven plays, each of which would be independent, but would gain true value in relation to the overall group. Only Genet’s posthumously published and fittingly entitled Fragments survive from what was to be his greatest project, which would have crystallized the themes and aesthetics that dominated his oeuvre, notably the performance of identity, betrayal, death, and the creatively disjointed, contrapuntal juxtaposition of textual fragments.

Finally, chapter 3 is dedicated to Viaggio di G. Mastorna (The Journey of G. Mastorna), a “metaphysical James Bond film,” which Fellini never managed to make despite the fact that the actors were cast, screenplay written, sets built, and costumes made. Moraly carefully examines the various synopses, scripts, and correspondences to reconstruct a chronological account of the thirty-year crisis that prevented Fellini from completing the film. Moraly teases out the salient scenes, images, and themes, which he then discerns across Fellini’s back catalogue, for instance in Toby Dammit (1968), Ginger e Fred (1985) and La Voce della Luna (1990). He proposes that the search for the sacred and quest for ultimate meaning beyond the tangible reality of life in Mastorna is a guide to understanding the critique of capitalist excess across Fellini’s cinema.

In addition to Claudel, Genet, and Fellini, Moraly’s introduction and conclusion contain a profusion of additional examples: the poet Stéphane Mallarmé’s unfinished “total book,” Alfred de Vigny’s aborted La Seconde consultation du Docteur Noir in the late nineteenth century, Claude Monet’s obsessively repeated attempts to paint waterlilies in the early twentieth century, composer Arnold Schoenberg’s “impossible opera” from the 1930s, and theatre critic Bernard Dort’s unachievable biography of the spectator in the latter part of the twentieth century. Nor is Moraly’s premise applicable exclusively to music, painting, theatre, and cinema, as his...

审阅者：

• 戏剧、小说和电影中的梦想计划：耶胡达·莫拉利 (Yehuda Moraly) 的保罗·克洛岱尔 (Paul Claudel)、让·热内 (Jean Genet) 和费德里科·费里尼 (Federico Fellini) 的作品
• 克莱尔·芬堡·德利贾尼

梦想计划是关于艺术家只能梦想的作品。永远未实现的作品。被遗弃或毁坏的作品。耶胡达·莫拉利（Yehuda Moraly）的前提植根于二十世纪三位伟大艺术家——保罗·克洛岱尔（Paul Claudel）、让·热内（Jean Genet）和费德里科·费里尼（Federico Fellini）的作品——虽然这些梦想作品本身仍然永远无法表达，但它们使艺术家的作品，它们成为关键。

通过查阅作者的笔记、草稿和信件，并审查与他们合作的人的证词，莫拉利煞费苦心地重建了被放弃的项目，“从想法的诞生到成熟，到项目的不同版本，再到它的放弃” ，或者有时会放弃，因为作者可能会在再次离开之前从不同的角度回到该项目”（6）。值得注意的是，莫拉利将未完成的作品作为一个棱镜，通过它重新评估每位艺术家的全部作品，这意味着他的研究对于参与三位艺术家作品的任何方面的专家和非专家都很感兴趣。

第一章探讨了克洛岱尔打算添加到他的库方丹三部曲中的第四部分，该部分是犹太母亲彭西、她的女儿莎拉和教皇的侄子奥里安之间的对话。莫拉利认为，也许克洛代尔从未解决过犹太教与基督教之间、旧约与新约之间的对话（第 580 页） ，这一对话是他的大部分作品的核心，反映了他无法超越它们的对比。

在第二章中，莫拉利试图将这部名为《La Mort》（《死亡》）的作品拼凑起来，这部作品占据了热内近二十年的生活，但被他多次放弃。根据他与让·谷克托（Jean Cocteau）和他的美国翻译伯纳德·弗雷希特曼（Bernard Frechtman）等对话者的通信，最终的艺术作品是反映世界，囊括所有可能的图像。热内想象拉莫特将差异和改变发挥到极致，从而找到一种新的美学和道德。该周期将包含七场比赛，每场比赛都是独立的，但相对于整个团队来说将获得真正的价值。只有热内死后出版的、题为《片段》的作品从他最伟大的项目中幸存下来，该项目将主宰他全部作品的主题和美学具体化，特别是对身份、背叛、死亡的表现，以及创造性地脱节、对位并置文本。碎片。

最后，第三章致力于《Viaggio di G. Mastorna》（《G. Mastorna 之旅》），这是一部“形而上学的詹姆斯·邦德电影”，尽管演员选角、剧本编写、布景搭建，费里尼始终未能拍成。和制作的服装。莫拉利仔细检查了各种概要、剧本和信件，以按时间顺序重建了阻碍费里尼完成电影的三十年危机的叙述。莫拉利梳理出显着的场景、图像和主题，然后他在费里尼的过往目录中辨别出这些内容，例如《托比·达米特》( Toby Dammit ) (1968)、《姜与弗雷德》(Ginger e Fred ) (1985) 和《月亮之声》 (La Voce della Luna ) (1990)。他提出，在《马斯托纳》中，对超越生活有形现实之外的神圣和终极意义的追求，是理解费里尼电影中对资本主义过度批判的指南。

除了克洛岱尔、热内和费里尼之外，莫拉利的引言和结论还包含大量额外的例子：诗人斯特凡·马拉美未完成的“全书”，阿尔弗雷德·德·维尼在十九世纪末流产的《黑博士第二次咨询》 ，克劳德·莫奈的痴迷的《黑博士的第二次咨询》。 20世纪初期反复尝试画睡莲，1930年代作曲家阿诺德·勋伯格的“不可能的歌剧”，以及20世纪后半叶戏剧评论家伯纳德·多尔特无法实现的观众传记。莫拉利的前提也不仅仅适用于音乐、绘画、戏剧和电影，因为他的……