{"id":46197,"date":"2000-01-01T00:00:00","date_gmt":"2000-01-01T00:00:00","guid":{"rendered":"https:\/\/formacionsimple.com\/revistasculturales\/archivos\/46197"},"modified":"2026-03-10T08:34:59","modified_gmt":"2026-03-10T08:34:59","slug":"dali-redivivo","status":"publish","type":"post","link":"http:\/\/formacionsimple.com\/revistasculturales\/dali-redivivo\/","title":{"rendered":"Dal\u00ed redivivo"},"content":{"rendered":"

Autor:<\/strong> Vivianne Lor\u00eda<\/p>\n

Revista:<\/strong> L\u00c1PIZ Revista Internacional de Arte n\u00ba 205<\/p>\n\n

En 1945, Walt Disney y Salvador Dal\u00ed acordaron realizar un corto de animaci\u00f3n surrealista. Pero el proyecto no vio la luz hasta el a\u00f1o pasado, cuando se estren\u00f3 en el Festival Internacional de Annecy. Dirigido por Dominique Monfery, el corto, titulado Destino <\/em>, se presenta, m\u00e1s de cinco d\u00e9cadas despu\u00e9s de su concepci\u00f3n y con Dal\u00ed desaparecido, como una mirada nost\u00e1lgica al horizonte ya lejano de la animaci\u00f3n cl\u00e1sica, a la vez que como una operaci\u00f3n de legitimaci\u00f3n de los or\u00edgenes creativos de Walt Disney Company, que en otros tiempos marc\u00f3 las pautas de la est\u00e9tica cinematogr\u00e1fica de la animaci\u00f3n. Hoy, la voraz productora sigue la carrera loca de las tecnolog\u00edas de animaci\u00f3n aplicadas a largometrajes seriados que saquean libros de literatura infantil y juvenil. <\/p>\n

Pasadas las d\u00e9cadas de oro de la Disney, que han dejado indiscutibles joyas de la animaci\u00f3n, en los \u00faltimos veinte a\u00f1os se ha acentuado el edulcoramiento y vaciado de contenido progresivo de los argumentos, fen\u00f3meno que ha corrido paralelo a la sofisticaci\u00f3n creciente de los programas inform\u00e1ticos aplicados a los efectos especiales, al movimiento de los personajes y a la creaci\u00f3n de escenograf\u00edas complejas y perspectivas hiperrealistas. La m\u00fasica, que antes salpicaba las historias con c\u00e1ndidas canciones, protagoniza hoy la trama, convirtiendo los largos en musicales con sofisticados n\u00fameros coreogr\u00e1ficos y con bandas que ensamblan desde el pop hasta el reggae. <\/p>\n

La relevancia de la banda musical ha sido, en efecto, un rasgo distintivo de las complejas animaciones Disney. As\u00ed, Destino <\/em> se inspira en una melod\u00eda del mexicano Armando Dom\u00ednguez, que sirvi\u00f3 a Walt Disney para imaginar el argumento musical del corto. Partiendo de la composici\u00f3n de Dom\u00ednguez, con una letra escrita por Ray Gilbert e interpretada por Dora Luz, el productor aspiraba a la creaci\u00f3n de una especie de poema amoroso audiovisual. Quiz\u00e1s la elecci\u00f3n de Dal\u00ed como dise\u00f1ador de la secuencia parti\u00f3 de la idea de que su est\u00e9tica surrealista, vulgarmente interpretada como la est\u00e9tica de los sue\u00f1os, aportar\u00eda una atm\u00f3sfera adecuada de inquietud y enso\u00f1aci\u00f3n. <\/p>\n

Tras meses de trabajo, el proyecto fue abandonado en 1946 por problemas de presupuesto. D\u00e9cadas despu\u00e9s, se encargar\u00eda a un equipo de dibujantes y animadores franceses su realizaci\u00f3n. Bas\u00e1ndose en un completo storyboard <\/em> y en un veintena de pinturas y m\u00e1s de 130 dibujos originales de Dal\u00ed, este equipo intent\u00f3 crear Destino <\/em> utilizando exclusivamente las t\u00e9cnicas \u201cantiguas\u201d de animaci\u00f3n, trabajando cuadro por cuadro artesanalmente, e incluyendo dieciocho segundos de metraje original rodados por John Hench -miembro del Estudio Disney que trabaj\u00f3 con Dal\u00ed en el desarrollo del proyecto-. Este intento por atenerse a un presunto esp\u00edritu original, ya perdido irremediablemente, parece buscar dotar al corto de un halo de \u201cclasicismo\u201d Disney, inspirando en el espectador un d\u00e9j\u00e0 vu <\/em>, un deleite en la atm\u00f3sfera retro, reforzada por la melanc\u00f3lica melod\u00eda a\u00f1os cuarenta que gu\u00eda la acci\u00f3n. Pero lo cierto es que el equipo cedi\u00f3 a la tentaci\u00f3n de usar la animaci\u00f3n por ordenador para conseguir el efecto 3 d de una torre y para dotar de profundidad al planismo de la animaci\u00f3n cl\u00e1sica. <\/p>\n

El relato, cuya narratividad es forzada a encajar en los s\u00edmbolos ya anecd\u00f3ticos de la iconograf\u00eda daliniana, es, como compete a la psicolog\u00eda de la animaci\u00f3n Disney, simple y directo. Se trata del amor, y se desarrolla como una danza interpretada por una figura femenina surgida de la arena de un paraje desolado del m\u00e1s reconocible estilo Dal\u00ed. La mujer, con el aspecto adolescente y los grandes ojos propios de las hero\u00ednas de la Disney, se desliza et\u00e9rea vestida con un traje vaporoso y rom\u00e1ntico. Una gran pir\u00e1mide de piedra en medio del extra\u00f1o desierto muestra un altorrelieve, una figura masculina sin rostro apoyada en un reloj. La danza de la mujer le incita. Ella ve desvanecerse lo que parece una escultura, un retrato masculino, quiz\u00e1s la encarnaci\u00f3n de un sue\u00f1o rom\u00e1ntico. Entonces sube a una torre que alberga extra\u00f1os ojos con esmoquin y su vestido se enreda y se desliza dej\u00e1ndola desnuda, al tiempo que se acurruca en una caracola. La figura de piedra lucha por liberarse de las cadenas del inexorable paso del tiempo, simbolizado en el reloj y la piedra… La vida y el amor sometidos a la estricta condici\u00f3n ef\u00edmera de lo humano. Ella se funde en la sombra solitaria de una campana, apropi\u00e1ndosela como si fuese un vestido. \u00c9l y ella se buscan, pero no logran encontrarse, separados por la piedra, por el desierto, por el desvanecimiento o por el crecimiento agresivo de una arquitectura fantasmal a su alrededor. La figura liberada de la piedra, las hormigas en su mano que se convierten en ciclistas con un pan en la cabeza, la transformaci\u00f3n de la escultura en beisbolista, son mutaciones que responden a la paralela metamorfosis de la mujer, tan pronto transformada en diente de le\u00f3n cuya cabeza se desgaja, como en campana. Dos grotescas testas de cuellos desgarrados son transportadas por enormes tortugas sobre sus caparazones en la \u00fanica secuencia original rodada en la \u00e9poca en que se plante\u00f3 el proyecto. Al encontrarse en el horizonte, el espacio entre las cabezas dibuja la figura de la campana a modo de bailarina, coronada por una pelota que descansa a lo lejos, en el paisaje. La pelota del beisbolista es la cabeza de la mujer… Pero cualquier movimiento es m\u00e1s confuso que el anterior, y el acercamiento se frustra. Y la aventura solo sirve para que todo acabe m\u00e1s o menos como al principio. El hombre de piedra, y la mujer como una campana, perdidos ambos en un desierto desolador. <\/p>\n

Ciertamente, este corto, de unos seis minutos, recupera el encanto e ingenuidad de los productos Disney de los a\u00f1os cuarenta, pero, como no podr\u00eda ser de otra manera, su esp\u00edritu y atm\u00f3sfera se apegan m\u00e1s al simplismo pict\u00f3rico daliniano que a las vetas oscuras que transmiten algunos de los dibujos a l\u00e1piz con los que el artista prefigur\u00f3 las im\u00e1genes m\u00e1s extra\u00f1as de este proyecto. <\/p>\n<\/p>\n

In 1945, Walt Disney and Salvador Dal\u00ed agreed to make a short surrealist animation. However the project was not unearthed until last year, when it was premiered at the Annecy Animation Festival. Directed by Dominique Monfery, the short film entitled Destino appears, five decades after its conception and now Dal\u00ed is no longer with us, as a nostalgic glance towards the already distant horizon of classical animation, and at the same time as an operation legitimising the Walt Disney Company’s creative origins, which in past times set the guidelines for the cinematographic aesthetics followed in animation. Currently, the voracious production company adheres to the wild race involving animation technologies applied to serialised feature films that plunder children’s and teen literature. <\/p>\n

With Disney’s golden decades behind them, during which they produced undisputable animation jewels, over the last twenty years we have seen an increased sweetening and a progressive loss of content in the plots, a phenomenon that has appeared in parallel to the increasing sophistication of computer programmes applied to special effects, to the way characters move and to the creation of complex sceneries and hyperrealist perspectives. The music, which used to pop up in the stories by way of candid songs, currently takes the leading role, turning these feature films into musicals with sophisticated choreographies and soundtracks that assemble all styles from pop to reggae. <\/em><\/p>\n

The relevance of the music has actually been a distinctive trait in Disney’s complex animations. In fact, Destino was inspired by a melody by Mexican composer Armando Dom\u00ednguez, which Walt Disney used to imagine the musical plot for the short film. Based on Dom\u00ednguez’s composition, with lyrics by Ray Gilbert and performed by Dora Luz, the producer aimed to create a kind of audiovisual love poem. Perhaps choosing Dal\u00ed as the designer of the sequence arose from the idea that his surrealist aesthetics, vulgarly interpreted as dream-world aesthetics, would provide a suitable restless and dreamlike atmosphere.<\/em><\/p>\n

After working for months, the project was abandoned in 1946 due to budgetary problems. Decades later, a team of French drawers and animators was employed to complete it. Based on a comprehensive storyboard , about twenty paintings and over 130 original drawings by Dal\u00ed, the team attempted to create Destino exclusively using \u201cold\u201d animation techniques, working frame by frame implementing traditional methods, and including eighteen seconds of original material filmed by John Hench \u2013member of the Disney Studio who worked with Dal\u00ed on the development of the project. That attempt to preserve the supposedly original spirit, already lost irremediably, seems to want to bestow the short film with a halo of Disney \u201cclassicism,\u201d producing a d\u00e9j\u00e0 vu effect on the spectator , delighting in a retro atmosphere, emphasised by the melancholic 1940s melody that guides the action. Yet, the truth is that the team gave in to the temptation to use computer graphics to achieve the 3 d effect for a tower and to give some depth to the flat classical animation. <\/em><\/p>\n

The plot, whilst its narrativity is forced to fit into the now anecdotic symbols of Dal\u00ed’s iconography, is simple and direct, as would be expected of Disney animation psychology. It is about love, and it takes the shape of a dance performed by a female figure that emerges from the sand in an isolated location designed in a most recognisable Dal\u00ed style. The woman, who has the adolescent aspect and the large eyes of all Disney heroines, glides along ethereally clothed in a gauzy, romantic dress. A large stone pyramid in the middle of the strange desert displays a high relief, a faceless male figure leaning on a clock. The woman’s dance incites him. She sees what looks like a sculpture, a male portrait, perhaps the incarnation of a romantic dream fade before her. She then goes up to a tower that houses strange tuxedo-clad eyes and her dress gets tangled and slides off her, leaving her naked, whilst she curls up in a conch. The stone figure strives to free itself of the chains representing the inexorable passing of time, symbolised by the clock and the stone… Life and love subjected to the strict ephemeral condition of what is human. She melts into the solitary shadow of a bell, borrowing it as if it were a dress. She and he look for each other, yet they do not find each other, separated by the stone, by the desert, by the vanishing or the aggressive growth of the ghostly architecture that surrounds them. The figure freed from the stone, the ants turning into cyclists with pieces of bread on their heads and the sculpture becoming a baseball player are all mutations that respond to the parallel metamorphosis the woman undergoes: she becomes a dandelion whose flower breaks off as easily as she turns into a bell. Two grotesque heads, ripped from their bodies at the neck, are carried by enormous turtles that transport them on their shells in the only original sequence filmed at the time when the project was designed. When they meet on the horizon, the space between the heads outlines the shape of the bell as if it were a ballerina, crowned by a ball that appears in the background, in the landscape. The baseball player’s ball is the woman’s head… Nonetheless, each movement is more confusing than the one before it, and although they move closer, they never get close enough. The adventure only leaves everything more or less as it was at the beginning. The man made of stone, the woman as a bell, both lost in a bleak desert. <\/em><\/p>\n

In truth, this short film, that lasts approximately six minutes, recuperates the charm and ingenuity of the Disney products created in the 1940s, yet, as expected, its spirit and atmosphere are more closely linked to Dal\u00ed’s pictorial simplism than to the dark streaks transmitted through the pencil sketches the artist drew to plan the project’s strangest images. <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Autor: Vivianne Lor\u00eda Revista: L\u00c1PIZ Revista Internacional de Arte n\u00ba 205 En 1945, Walt Disney y Salvador Dal\u00ed acordaron realizar un corto de animaci\u00f3n surrealista. Pero el proyecto no vio la luz hasta el a\u00f1o pasado, cuando se estren\u00f3 en el Festival Internacional de Annecy. Dirigido por Dominique Monfery, el corto, titulado Destino , se […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[10],"tags":[444,351,400],"class_list":["post-46197","post","type-post","status-publish","format-standard","hentry","category-articulos","tag-arte","tag-articulo-html","tag-lapiz-revista-internacional-de-arte"],"acf":[],"_links":{"self":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46197","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/comments?post=46197"}],"version-history":[{"count":1,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46197\/revisions"}],"predecessor-version":[{"id":48422,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/posts\/46197\/revisions\/48422"}],"wp:attachment":[{"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/media?parent=46197"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/categories?post=46197"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/formacionsimple.com\/revistasculturales\/wp-json\/wp\/v2\/tags?post=46197"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}