In this book I mentioned shows there here, it is the winner of the Prix Premier Album of Salon Montreuil, and comic book debut of talented Ghislaine Herber.
L'esecuzione di questo lavoro, soltanto apparentemente semplice, si sviluppa attraverso la rappresentazione degli stati d'animo di Monsieur, il protagonista. Il pretesto narrativo, da cui scaturisce il contenuto più ampiamente culturale e psicologico del testo, si fonda sul racconto di una giornata importante: Monsieur ha un appuntamento galante e non sa che testa indossare per far colpo sulla sua dama.
Da quella sorta di antro magico in cui sono contenute le sue innumerevoli teste, Monsieur ne estrae di continuo, alla ricerca disperata di quella perfetta. In una girandola di facce, viviamo tutta la gamma di sentimenti che si experience when the heart is in turmoil: shyness, frustration, anxiety, fear, joy, happiness, happy until the end of the story.
Masks Inuit, Alaska
The work helps us understand how easy it is to switch from one mood to another, how shyness can lead to feel ridiculous, and ridiculous to feel offended and sulk and how it can make us angry and force us to do something. After all, you know, feelings dominate us against our will.
And it is precisely in the way chosen to represent the feelings of the protagonist, who is the true genius and originality of this book shows: in fact the heads are masks from around the world. (I also think that as a starting point for the story were the same masks, but this is a question left unanswered for now). Among others, there are masks that belong to the theatrical tradition and iconography some countries: for example, is represented our Commedia dell'Arte, such as the Teatro Ky og en or Nō Theatre (cover picture) from Japan, the Theatre Ihamo from Tibet or the traditional mask worn by the Dance of the Dead, which takes place during the Día de Muertos , Mexico.
The book therefore becomes an excuse to culture, a means by which to discover the most hidden sides of the countries that are represented in its substance and appearance masks expression ancestral idols through the masks of the carnival, the popular tradition to the more classical theater, masks have always been a sort of means to narrate aspects also prohibited by the dominant culture, representation of the fears and sacral transition from the human to the divine object of rites and representations. From tribal depictions more clearly to the most refined, the reader can travel and make their valuable information assets.
Bwa, Burkina Faso - , Bengal, India
past instead illustrative aspect of this book, I immediately hit the desired cleaning of images: Unique colors to highlight those masks, and sometimes the boxes containing them as required representative. Any object that is in the illustrations has a definite purpose, for example, if looking at the first table, you were to think that the object hanging above the door of the room of Monsieur is a mere tinsel, you would be soundly refuted in one of last pages because, even that turns out to be a mask. Just as it is a form that the last panel (which does not reveal for obvious reasons!).
Scene is bare, the double page shows a succession of close-ups aimed at highlighting the expressions of the faces represented in a flow with no apparent interruption. A unique narrative that flows in opposition or in various poses of consecutiveness plastic Monsieur, caught in the act of trying on the "head" of the moment. The text, if present, is bare bones. This is a brief text that gives us the basic information to lead us from one page to another, increasing the expectation and the desire to find out what follows.
Maltugi, Korea - , Dance of the Dead, Mexico
an accredited well-structured, sober, funny, easy to read I would recommend the little ones.
Copyright © images, Éditions MeMo 2010. The images have been published with the permission of the publisher, their reproduction is prohibited.
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