3.1.3 Double entendre
Another subtlety is the ambiguity of "e siam rimasti in gara" (we
stayed in the contest) because the couple are either theatrically
in mock rivalry with one another, as is emphasised by the connection with
the "e siamo rimasti in pista" (we stayed on the
floor) of four lines earlier, or they are in a dance hall competition,
or both.
Such ambivalent use of words is in fact quite a typical feature in Conte's
lyrics and is also the key to the refrain and title of this song, for,
as mentioned previously, in Italian "dancing" is also the-now somewhat
old-fashioned-word for discotheque or dance-hall. Conte makes full use
of all its distant possibilities by inserting it, and pronouncing it,
as a foreign word in the midst of a completely Italian text.
3.1.4 Formal devices
As the song progresses the music intensifies, and this
allows for a corresponding heightening of expressive intensity and density
of images, but also in the formal devices: "I ballerini che lo fanno /
un pò per professione,/ un pò per vera vocazione, / hanno un passo di
ossessione / e sanno bene che l'azzardo / è lieve come il leopardo…"(The
dancers who do it a little by profession, a little by true vocation, have
a pace -or "step"- of obsession, and they know well that the
gamble-or "the dare"- is as light as a leopard…). A sudden use
of exaggeratedly repeated sounds in rhyming couplets ("un pò...un pò,
e...e...e, professione...vocazione...ossessione azzardo..leopardo, figure...sfumature")
is designed to hammer out the obsession of the dancers and the beat they
follow, as is the use of the rhythmic parallels: "professiòne, vocaziòne,
ossessiòne" and "sànno bène che l'azzàrdo / liève còme il leopàrdo"
3.1.5 Uses of hyperbole
At this point the protagonist is losing his concentration, and gradually
losing touch with the dance, but he is still caught up in the action even
though his head is elsewhere. He explains that: if in his step an uneasiness
has been noticed, and a great bow, it is because he was closed to a distant
city, all of mother-of-pearl, silver, wind iron and fire. As in the opening
of the song, we have the use of dramatically heightened images, in this
case the effect is expressionistic, as for the uneasy dancer, the overpowering
dance has become a series of great bows that are so pronounced he has
reached this distant city of an ancient elemental quality.
This kind of hyperbole is certainly something that we do come across from
time to time in the composer's repertoire (the song L'avance, looked
at in the previous article has some other examples), but it is generally
used only on particular occasions, almost as a secret weapon, never therefore
within close distance to a second occurrence, and only where it is not
judged too strong for the musical context.
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