From “Discourses of Sobriety” to Deadpan Comedy: Christopher Guest’s Musical Trilogy
Christopher Guest’s fake documentaries about music are marketed as entertainment but they also raise serious questions about music history and the problem of authenticity. Working as a collaborative writer, director and actor in This is Spinal Tap (1984), Waiting for Guffman (1996) and A Mighty Wind...
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| 出版年: | URI:https://journals.openedition.org/angles, |
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| フォーマット: | Article ou chapitre numérique |
| 言語: | Anglais |
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Angles
2020
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| 主題: | |
| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:angles_2216 |
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openedition |
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openedition-oai:revues.org:angles_2216 https://doi.org/10.4000/angles.2216 urn:doi:10.4000/angles.2216 en https://journals.openedition.org/angles/2216 2020-09-04T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/9n0y https://creativecommons.org/licenses/by/4.0/ From “Discourses of Sobriety” to Deadpan Comedy: Christopher Guest’s Musical Trilogy Angles Société des Anglicistes de l'Enseignement Supérieur info:eu-repo/semantics/reference/issn/2274-2042 URI:https://journals.openedition.org/angles Holdefer, Charles camp documentaire musique mockumentaire Guest Christopher histoire de la musique authenticité camp documentary music mockumentary Guest Christopher music history authenticity Christopher Guest’s fake documentaries about music are marketed as entertainment but they also raise serious questions about music history and the problem of authenticity. Working as a collaborative writer, director and actor in This is Spinal Tap (1984), Waiting for Guffman (1996) and A Mighty Wind (2003), Guest has recast the “discourses of sobriety” as deadpan comedy. In the process, he challenges the traditional fact/fiction dichotomy and claims to authenticity. With attention to folk, rock and community theater genres, this article focuses on Guest’s treatment of received narratives about music-making that are preoccupied by a quest for origins and a sense of home. The reality of such narratives is depicted as compromised, while performance, sometimes animated by a camp sensibility, offers a way forward. Les documentaires fictifs de Christopher Guest sur la musique sont commercialisés comme des divertissements, mais ils soulèvent également de sérieuses questions sur l’histoire de la musique et la question de l’authenticité. Travaillant en tant que scénariste, réalisateur et acteur dans This is Spinal Tap (1984), Waiting for Guffman (1996) et A Mighty Wind (2003), Guest a transformé le « discours de la sobriété » en comédie où le comique est présenté avec le plus grand sérieux. Il remet en question la dichotomie traditionnelle entre réalité et fiction ainsi que les prétentions d’authenticité. Cet article s’intéresse aux poncifs sur les genres du folk, du rock et de la comédie musicale, mais aussi sur la création musicale comme un retour aux sources. Si la vérité de ces récits est présentée par Guest comme étant de façade, la performance, parfois inspirée par une sensibilité burlesque ou « camp », offre peut-être un chemin nouveau. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
camp documentaire musique mockumentaire Guest Christopher histoire de la musique authenticité camp documentary music mockumentary Guest Christopher music history authenticity |
| spellingShingle |
camp documentaire musique mockumentaire Guest Christopher histoire de la musique authenticité camp documentary music mockumentary Guest Christopher music history authenticity Holdefer, Charles From “Discourses of Sobriety” to Deadpan Comedy: Christopher Guest’s Musical Trilogy |
| description |
Christopher Guest’s fake documentaries about music are marketed as entertainment but they also raise serious questions about music history and the problem of authenticity. Working as a collaborative writer, director and actor in This is Spinal Tap (1984), Waiting for Guffman (1996) and A Mighty Wind (2003), Guest has recast the “discourses of sobriety” as deadpan comedy. In the process, he challenges the traditional fact/fiction dichotomy and claims to authenticity. With attention to folk, rock and community theater genres, this article focuses on Guest’s treatment of received narratives about music-making that are preoccupied by a quest for origins and a sense of home. The reality of such narratives is depicted as compromised, while performance, sometimes animated by a camp sensibility, offers a way forward. |
| author |
Holdefer, Charles |
| author_facet |
Holdefer, Charles |
| author_sort |
Holdefer, Charles |
| title |
From “Discourses of Sobriety” to Deadpan Comedy: Christopher Guest’s Musical Trilogy |
| title_short |
From “Discourses of Sobriety” to Deadpan Comedy: Christopher Guest’s Musical Trilogy |
| title_full |
From “Discourses of Sobriety” to Deadpan Comedy: Christopher Guest’s Musical Trilogy |
| title_fullStr |
From “Discourses of Sobriety” to Deadpan Comedy: Christopher Guest’s Musical Trilogy |
| title_full_unstemmed |
From “Discourses of Sobriety” to Deadpan Comedy: Christopher Guest’s Musical Trilogy |
| title_sort |
from “discourses of sobriety” to deadpan comedy: christopher guest’s musical trilogy |
| publisher |
Angles |
| publishDate |
2020 |
| container_title |
URI:https://journals.openedition.org/angles |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/angles.2216 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/angles/2216 |
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