A n n i v e r s a r i !

Se m'havia passat! El dia 11 va fer un any d'aquesta bitàcora. Encara en fase de proves i definició. Només explorant possibilitats.

L o
q u e
d i j o
e s t e
t i p o

Discurso de Michael Moore, óscar al mejor documental, y traducción comentada que ha hecho el menda yo mismo.

Oscars 2003: Acceptance speech from Michael Moore

ACCEPTANCE SPEECH

Michael Moore: Whoa. On behalf of our producers Kathleen Glynn and Michael Donovan from Canada, I'd like to thank the Academy for this. I have invited my fellow documentary nominees on the stage with us, and we would like to — they're here in solidarity with me because we like nonfiction. We like nonfiction and we live in fictitious times. We live in the time where we have fictitious election results that elects a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons. Whether it's the fictition of duct tape or fictition of orange alerts we are against this war, Mr. Bush. Shame on you, Mr. Bush, shame on you. And any time you got the Pope and the Dixie Chicks against you, your time is up. Thank you very much.

Traducción:

Bueno.... En nombre de nuestros productores Kathleen Glynn y Michael Donovan de Canadá, quisiera dar las gracias a la Academia. He invitado a mis compañeros candidatos a que suban al escenario con nosotros. Están aquí en solidaridad conmigo, porque nos gusta la realidad (NT: "no ficción"en el original). Nos gusta la realidad y vivimos en tiempos ficticios. Vivimos en un tiempo de resultados electorales ficticios que eligen a un presidente ficticio. Vivimos en un tiempo donde un hombre nos está enviando a una guerra por razones ficticias. Ya sea una ficción de cinta americana (NT: se refiere a la utilizada para atar las manos a los prisioneros iraquíes, ver este enlace) o una ficción de "alerta naranja" (NT: el segundo nivel en el "Sistema de alerta para la seguridad de la patria" puesto en marcha por el gobierno de los USA, corresponde a "alto riesgo de ataques terroristas"), nosotros estamos contra esta guerra, Sr. Bush. Avergüéncese, Sr. Bush, avergüéncese. En el momento que usted ha conseguido (NT: empieza la música trompetería para ahogar el discurso, el resto es prácticamente inaudible) que desde el Papa hasta hasta las Dixie Chicks (NT: un popular grupo norteamericano de chicas de música comercial que se ha posicionado contra la guerra), su tiempo se ha acabado. ¡Muchas gracias!

H a b l a
P i c a s s o

Cuando el Secretario de Estado de los EE.UU. presentó su caso en contra de Iraq en el consejo de la seguridad de la O.N.U el 5 de febrero, el tapiz del "Guernica" que se exhibe habitualmente allí fue tapado. Esta negación simbólica de una suprema respuesta artística a la guerra movió a Ariel Dorfman a hacer esta poesía.




Pablo Picasso has words for Colin Powell from the other side of death
Ariel Dorfman
25 - 2 - 2003

When the US Secretary of State presented his case against Iraq at the UN Security Council on 5 February, the tapestry of Guernica that routinely hangs there was covered up. This symbolic denial of a supreme artistic response to war moved Ariel Dorfman to poetry.




Yes, even here, here more than anywhere else,
we know and watch what is going on
what you are doing with the world
we left behind

What else can we do with our time?


Yes, there you were, Mr. Secretary,
I think that is how they call you
there you were
standing in front of my Guernica
a replica it is true
but still my vision of what was done
that day to the men to the women
and to the children to that one child
in Guernica that day in 1937
from the sky


Not really standing in front of it.
It had been covered, our Guernica,
covered so you could speak.
There in the United Nations building.
So you could speak about Iraq.


Undisturbed by Guernica.


Why should it disturb perturb you?
Why did you not ask that the cover
be removed
the picture
be revealed?


Why did you not point to the shrieking
the horse dying over and over again
the woman with the child forever dead
the child that I nurse here in this darkness
the child who watches with me
as you speak
and you speak.
Why did you not say
This is why we must be rid of the dictator.
Why did you not say
This is what Iraq has already done and undone.
Why did you not say
This is what we are trying to save the world from.
Why did you not use
Guernica to make your case?


Were you afraid that the mother
would leap from her image and say
no he is the one
they are the ones who will bomb
from afar
they are the ones who will kill
the child
no no no
he is the one they them
from the distance the bombs
keeping us always out of sight
inside death and out of sight


Were you afraid that the horse
would show the world the near future
three thousand cruise missiles in the first hour
spinning into Baghdad
ten thousand Guernicas
spinning into Baghdad
from the sky


Were you afraid of my art
what I am still saying
more than sixty five years later
the story still being told
the vision still dangerous
the light bulb still hanging
like an eye from the dead
my eye that looks at you from the dead


beware


beware the eye of the child
in the dark


you will join us
the child and I
the horse and the mother
here on the other side


you will join us soon
you will journey here
as we all do


is that why you were
so afraid of me?


join us
and spend the rest of eternity
watching
watching
watching
next to us
next to the remote dead
not only of Iraq
not only of


is that why you were
so afraid of that eye?


watching
your own eyes sewn open wide looking
at the world you left behind


there is nothing else to do
with our time





sentenced to watch
and watch
by our side


until there will be no Guernicas left
until the living understand


and then, Mr. Secretary,
and then


a world with no Guernicas


and then
yes then
you and I
yes then

we can rest


you and I and the covered child



Guernica, by Pablo Picasso (1937)
See larger reproduction here

Copyright © 2003. Published by openDemocracy