نينو روتا
尼诺·罗塔
נינו רוטה
ニーノ·ロータ
니노 로타
Нино Рота

Amarcord theme

source: albinalinet

حياته

بعد دراسته في معهد الموسيقى سانتا سيسيليا بروما زار

بين عامي 1931 و 1932 معهد كورتيس في فيلادلفيا ودرس هناك التلحين

و قيادة الأوركسترا. في هذا الوقت اكتشف هوليوود وأفلام

وموسيقى جورج غيرشوين. أصبح نينو روتا معروفاً بعد الحرب

العالمية الثانية كمؤلف موسيقى أفلام وبشكل خاص للمخرج الإيطالي

فدريكو فلليني الذي اشتغل معه بداية عام 1952. كما أنه كتب موسيقى أفلام

لمخرجين معروفين مثل لوشينو فيسكونتي، فرانسيس فورد كوبولا،

لينا فورت مولر. مجموع ما ألفه نينو يصل إلى حوالي 150 موسيقى أفلام.

لم تنل أعماله فيما يخص الأوبرا والتي تصل إلى 10 أوبرات النجاح المطلوب.

الجوائز

جوائز الأكاديمية

1973: رشح لأحسن موسيقى فيم تصويرية عن فيلم العراب

للمخرج فرانسيس فورد كوبولا ومع ذلك سحب الترشيح والتي منحت لفيلم آخر

1975:جائزة أحسن موسيقى فيلم تصويرية عن فيلم العراب

الجزء الثاني للمخرج فرانسيس فورد كوبولا

الكرة الذهبية

1973: رشح لأحسن موسيقى أفلام تصويرية

1975:جائزة أحسن موسيقى أفلام تصويرية

أفلام مع موسيقى من تأليف نينو روتا

الشارع (1954) – : إخراج فدريكو فلليني

اليالي البيضاء (1957) – : إخراج لوشينو فيسكونتي

الحياة الحلوة (1960) – : إخراج فدريكو فلليني

ثمانية ونصف (1963) – : إخراج فدريكو فلليني

روكو وإخوته (1960) – : إخراج لوشينو فيسكونتي

روميو وجولييت (1968) -: إخراج فرانسو زيفيليري

العراب (1972) – : إخراج فرانسيس فورد كوبولا

العراب الجزء الثاني (1974) – : إخراج فرانسيس فورد كوبولا

موت على النيل (1978) – : إخراج جون غولرمين
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source: listal

Fellini’s sentimental yet scathing look at a small town near Rome during the prewar years. Told in several recurring episodes, the story features a teenage boy (who represent the director himself), his … Full Descriptionparents, his lascivious grandfather, a dizzy hairdresser in search of her “Gary Cooper,” a mad uncle who straddles a tree demanding sex, and other colorful, odd characters. With the nostalgic tone of one’s memories, the film stresses a series of episodes over a strict plot structure, and is masterfully handled by the flamboyant director. The film won an Oscar for Best Foreign Language Film.

Federico Fellini’s AMARCORD, an acclaimed semiautobiographical episodic drama, examines life in a small Adriatic village just before Mussolini’s reign in the 1930s. As the weather changes and spring arrives, the village holds a festival in which it burns a symbolic bonfire and celebrates new life. This gathering in the central square is the first of many others throughout the film. Each time the community assembles, its colorful members show themselves in full force, boasting their bizarre, disjointed personalities–and pure mischief is the result. Several of the village ladies wear their eyebrows penciled on in high, provocative arches, a style that seethes sex and drama, coaxing the camera to follow them. The film takes on a circusy, chaotic tone, making it difficult to see a clear plot structure; AMARCORD instead breaks up into several memorably surreal sequences, a few of which follow a young man named Titta (Bruno Zanin) who wanders in and out of the animated provincial landscape, meeting assorted crazy characters and obsessing over sex. The beautiful clashes with the grotesque and politics and family matters blend together while sex is offset by violence in the inimitable style of Italy’s late master of cinema, whose tour de force won an Oscar for Best Foreign Language Film.
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source: irenebrinationtypepad

I had a privileged introduction to Fellini’s films. No, don’t worry, I never met the director, but I watched for the first time many of Fellini’s movies when I was very young during a film festival organised in my hometown in Italy and dedicated to Italian writer, screenwriter and Fellini’s collaborator Ennio Flaiano.

That, I guess, helped me shifting the perspective quite a bit from Federico to Ennio and grasp better the meaning behind some of Fellini’s films, analysing the language behind them and trying to understand which witticisms, jokes or moving bits Flaiano had written.

I will definitely dedicate a few longer posts to Flaiano on this blog next year, since in 2010 Italy will celebrate his 100th birth anniversary. In the meantime, I would like to focus on Nine the latest film by Rob Marshall.

The film is supposed to be a sort of adaptation for the big screen of Arthur Kopit and Mario Fratti’s eponymous musical (with music and lyrics by Maury Yeston) based on Federico Fellini’s 1963 autobiographical film 8 ½, interspersed with some other references to Italian cinema from the 60s (that is a couple of hairstyles and costumes borrowed from Visconti’s Rocco and His Brothers, the general atmosphere of La Dolce Vita, plus a fringe à la Audrey Hepburn circa Roman Holiday). Pause.

It’s a shame I’m not filming myself while I’m typing this post since you’re missing me shaking my head vigorously and cringing at the thought of such a hybrid.

I have watched 8 ½ in different contexts and different countries; I introduced it to a British audience who looked very interested and sat next to Italians who hated every single minute of it and shifted in their seats as if they had had enough about it after only 2 minutes.

Yet every time I watched it, I always got the same feeling, it would have been impossible to try and shoot again such a masterpiece for one main reason: Fellini was a uniquely visionary director surrounded by a few clever and witty screenwriters.

When Fellini first started working on 8 ½ he had in mind an ironic and funny film, a “magic kaleidoscope”.

Yet, in October 1961, things were still moving rather slowly and the director used to say he had a hole in his neck from which his ideas escaped.

Ennio Flaiano, Tullio Pinelli and Bruno Rondi had already written parts of the story at the time, while Fellini kept on taking notes on little pieces of papers that he kept hidden in a red folder in a drawer of his desk at his offices, and art director Piero Gherardi was researching the materials and the locations for various scenes.

In December 1961 Fellini announced he had chosen Marcello Mastroianni as the main character (he would have loved to have Lawrence Olivier, but he wasn’t available).

For the occasion Mastroianni was transformed into a neurotic man, clad in black with black glass frames, a few lines around his eyes and a sinister and melancholic look.

Soon news spread through the papers in Rome about Fellini looking for actors and actresses and letters and photos arrived from all over Italy and from other countries as well, especially by plump women who swore they incarnated all the qualities Fellini was looking for in the character of Guido’s mistress.

A few months after, in April 1962, Fellini announced his cast was ready and shooting started a month after, in Tivoli, Filacciano, Viterbo, Ostia, Fiumicino and the wood around Rome’s EUR.

The provisional title was 8 ½: eight represented the number of films Fellini had shot, while half stood for Boccaccio ‘70 for which he had shot only one episode.

The plot of the new film revolved around Guido Anselmi, a director who goes to rest for a short period in a spa while preparing his new film.

Dreams, nightmares and memories from his past assault Guido, though, and he ends up finding himself caught up in a sort of visionary reality.

Italian journalist and writer Camilla Cederna visited the set and followed the shooting of some memorable scenes: the people at the spa wrapped up in white shrouds like souls waiting at the doors of Hell; the wine-making scene in the old farmhouse; the harem with lonely cabaret dancer Bonbon who manages to make everybody cry.

At the end of the shooting Cederna interviewed Fellini who confessed her he didn’t manage to make such a funny film as he would have liked to and that he had shot two endings since he didn’t know yet which one he may have used.

The film came out in 1963 with an evocative soundtrack by Nino Rota that reminded of circus music and it was a success: many critics saw it as the greatest film about films and cinema that could have ever been done.

A review stated it was a creative meditation on the impotence of creativity; Alberto Moravia wrote in an article in February 1963 that the film was “an interior monologue alternated to bits of reality”; for others 8 ½ confirmed Fellini as a wizard of cinematographic images, a conjurer of memories.

I should be happy to see Fellini’s films being rediscovered because of Nine, but I must admit this film makes me totally cringe for at least nine good reasons, which I’ll briefly analyse here.

1) Fellini’s film was “a film about a film about cinema”, this is a movie about a musical and a film about cinema, a hybrid product in which some of the most significant bits out of 8 ½ such as Guido’s visions, memories and fantasies – parts supported by a great script in the film – were turned into silly music videos. Some of Guido’s visions were based on Fellini’s memories (his childhood spent at the country house of his paternal grandmother in Gambettola, Romagna; the rumba dancing prostitute Saraghina; the stifling and at times comical Catholic education he received based on the dichotomy between guilt and fear and so on) – Nine makes sure all these parts are filtered through a sort of demented music machine to provide the viewer with some much needed sing-along fun;

2) Guido’s women: was throwing together some beautiful actresses enough to recreate Fellini’s cast? Well, unfortunately no, and while picking Sophia Loren (the only real Italian in the film) as Guido’s mother and updating Claudia (Nicole Kidman) a bit by turning her nationality from Italian to Swedish, was probably only logical to Marshall, such expedients do not really help the film much, besides Fergie’s Saraghina basically lacks all the fantastically grotesqueness the original Saraghina has.

3) ‘Be Italian’ – The poster for this film should feature a simple warning “Contains very annoying music”. While Fellini’s 8 ½ featured Nino Rota’s unforgettable score, Marshall’s film is full of bombastic pop numbers, imagine watching Fellini’s 8 ½ in colour with no sound but with the dialogue and music from Baz Luhrmann’s Moulin Rouge remixed with Madonna’s ‘Vogue’. In a nutshell, every 5 minutes you get the impression somebody may pop out of a curtain clad in a red satin corset and start a cringing number à la ‘El Tango de Roxanne’. The leading song, ‘Be Italian’ is also infuriatingly annoying for the fake Italian accent and lyrics (Fact: being Italian doesn’t make you automatically stylish, beautiful or intelligent, otherwise you would have got an entirely Italian cast), though this is definitely not the fault of Marshall as the tracks was originally taken from the musical.

4) The cameo role by Dolce and Gabbana starring as priests. In the last few years many directors/costume designers opted for some clever product placement, but why having the product when you can have the designer(s) himself (themselves)?

5) The fashion/style connection this film tries to flaunt. Extremely annoying. Fellini’s films were unintentionally stylish. Clothes and accessories were used to actually create a character, but Fellini wasn’t trying to sell a product nor to launch a lifestyle or an attitude. Fellini was also a liar and a cheater and before La Dolce Vita hit the big screen, there was no “sweet life” in Rome, it was basically created after the film came out. This demented connection between Nine and fashion has already generated quite a few photo shoots inspired by this film, Fellini and Italy in the 60s on various publications.

6) Reason number sixth is actually strictly linked to number 5. One of the MOST annoying thing in Marshall’s film is in fact Kate Hudson who plays a Vogue staffer obsessed with Guido’s style. Being the film supposedly based in Italy in the 60s, Hudson launching into a music number entitled ‘Cinema Italiano’ on a mock runway ending up looking like a crossover between a Dolce & Gabbana perfume ad and a Beyoncé video is slightly anachronistic and also proves nobody involved in this film ever watched any real Italian film from the 60s.

7) Penélope Cruz thinking she’s a number out of the Cirque du Soleil in tacky lingerie and corsets, would please somebody take her away? Definitely a hit with male reviewers/members of the audience, though.
8)The harem scene. Guido’s dream of owning a sort of harem featuring all the women he loved/hated in his life is replaced by a sort of silly dance routine (read pop music video).

9) Daniel Day-Lewis is usually a convincing actor, as Guido/Mastroianni walking on sofas like Benigni at the Oscar awarding ceremony, I just can’t stand him.

8 ½ was a film about power, art, loneliness, morals, money, love, friendship and ambition, a film about that circus called “the world of film-making” and a director who finds himself lost in his illusions; Nine is a bit like “Fellini for Dummies”, it’s a vapid version of the real thing for a fun Saturday night out, a pastiche of the best and worst “Fellinisms” in a trashy modern key.

Like La Dolce Vita, 8 ½ was a series of frames linked one to the other by a sort of association of ideas, Nine is exactly the opposite, an annoying connection of frames, chewed masticated and vomited for a modern audience with no cinematographic education. That is why it will probably be successful.

Fellini stated 8 ½ was “a beautiful chaos” in which he felt alive. Nine is a visually beautiful expensive and redundant chaos. While deep down in my heart I wish this is the last time Hollywood ruins such a seminal film, I perfectly know there will always be time and money for horrid remakes, updates and follow ups. Hopefully I will never live to see Pasolini’s 120 Days of Sodom turned into a pop music video though.
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source: schott-music

Nino Rota was born in Milan on 3 December 1911. He gained a reputation as a child prodigy at the early age of twelve with the performance of the oratorio L’infanzia di San Giovanni Battista which he had composed four years previously. His pianist mother ensured that he received a solid musical education and Rota began studies at the Conservatory in Milan the very same year. In 1925/26, he composed the fairy tale opera Il principe porcaro based on a story by Hans Christian Andersen. Following his studies with Ildebrando Pizzetti, Rota went to Rome in 1926 where he studied at the Santa Cecilia conservatory with Alfredo Casella and received his diploma in piano and composition three years later. Following the recommendation of Arturo Toscanini, he subsequently studied composition (with Rosario Scalero) and conducting (with Fritz Reiner) at the Curtis Institute in Philadelphia from1931 to1932. He made acquaintance with Aaron Copland and developed an interest in American folklore, major Hollywood films and the music of George Gershwin. On his return to Italy, he completed his doctoral thesis in 1937 on the 16th century musicologist Gioseffo Zarlino. Rota was appointed as professor at the Conservatory in Bari in 1939 and director of the same institute in 1950 (until 1977) where one of his most well-known pupils was Riccardo Muti. The composer’s lifelong collaboration with Federico Fellini began in 1952. Rota died in Rome on 10 April 1979; his extensive estate is supervised by the Fondazione Cini in Venice.

Rota attracted the attention of both public and press in the 1930s with chamber music and orchestral works. The composer was a notable imitator of older musical styles. In Rota’s symphonic works, it is the association with Romantic music in the style of Dvorák which particularly comes to the fore, whereas his fascination with Neo-Classical forms can be observed in his chamber music which at times displays a touch of parody.

Rota composed a total of 150 film scores which include compositions for outstanding classics such as Federico Fellini’s La dolce vita (1960), I clowns (1970), Amarcord (1973), Il Casanova di Federico Fellini (1976), Luchino Visconti’s Il Gattopardo (1963), Giulietta degli spiriti (1965) and Francis Coppola’s The Godfather (1972). Rota was ingenious in fulfilling the wishes of film directors, and the success of his film scores cannot merely be attributed to the composer’s extraordinary melodic concepts, but to an equal degree on the direct relationship of the music to the image. Music itself becomes the main theme in Prova d’orchestra (1979), Rota’s final collaboration with Fellini. The deterioration within the sphere of musical life becomes a caricature of modern society.

Rota’s output for concert hall and stage includes ten operas, 23 ballet and stage compositions, three symphonies, three concertos each for piano and cello and a substantial range of choral works and chamber music. The opera Aladino e la lampada magica (1963-65) based on the well-known fairy tale from the “Arabian Nights” received its first performance in Naples in 1968. The ballet suite Le Molière imaginaire (1976-78) is one of Rota’s last major compositions for music theatre. In addition to the film scores which exist in a large variety of arrangements ranging from piano solo to orchestra, it is primarily Rota’s chamber music works such as the Sonata en sol for viola and piano (1970) and the Trio for clarinet, cello and piano (1973) which are currently included in the concert repertoire of numerous musicians.

In 1973, Rota received both a Grammy Award and the Golden Globe for his film score for Coppola’s cinematic work of the century The Godfather. The composer also received an Oscar for the best film music for his score for Part II of The Godfather in 1975.
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source: lastfmfr

Nino Rota (* 3 décembre 1911 à Milan – † 10 avril 1979 à Rome) était un compositeur et chef d’orchestre italien, particulièrement réputé pour ses compositions pour le cinéma (musique originale pour environ 170 films).
Nino Rota est né le 3 décembre 1911 à Milan, dans une famille de musiciens. Il étudia, dès son enfance, au conservatoire de Milan, sous la direction d’Ildebrando Pizzetti.

Il acquit une certaine renommée en tant que compositeur et chef d’orchestre dès son enfance, son premier oratorio, L’infanzia di San Giovanni Battista, ayant été par exemple représenté à Milan et à Paris en 1923, alors qu’il n’avait que douze ans.

En 1929, il intégra le conservatoire de Santa Cecilia, à Rome, où il étudia sous la direction d’Alfredo Casella.

Le chef d’orchestre Arturo Toscanini lui conseilla alors d’aller se perfectionner à Philadelphie (Pennsylvanie). Rota y obtint une bourse d’études au Curtis Institute, où il étudia, de 1930 à 1932, sous la direction de Fritz Reiner (direction d’orchestre) et de Rosario Scalero (composition).

De retour à Milan, il poursuivit ses études en étudiant la littérature à l’université de Milan. Il écrivit également une thèse consacrée à Gioseffo Zarlino, compositeur de la Renaissance.

Il s’orienta ensuite vers une carrière d’enseignement de la musique, à partir de 1937, qu’il mena de front avec son œuvre de compositeur, et qui le conduit à prendre la direction, en 1979, du conservatoire de Bari, qu’il conserva jusqu’à sa mort.

Rota écrivit ses premières partitions pour le cinéma dès 1933 pour Treno popolare de Raffaelo Matarazzo, puis pour Zazà, 1944 film réalisé par Renato Castellani.
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source: biografiasyvidas

(Milán, 1911 – Roma, 1979) Compositor italiano. Nieto del pianista y compositor Giovanni Rinaldi, en 1919 empezó a estudiar piano con su madre, y solfeo con A. Perlasco. En 1923 ingresó en el Conservatorio de Milán, donde fue alumno de Delachi, Orefice y Bas. Rota destacó por su precocidad; a los once años ya compuso un oratorio, y a los trece, compuso una comedia lírica en tres actos, Il Principe porcaro (1925).

Nino Rota

Entre 1925 y 1926 recibió clases particulares de Pizzetti y, posteriormente, estudió composición con Casella en la Accademia di Santa Cecilia en Roma, graduándose en 1930. Al año siguiente, Nino Rota se trasladó a Estados Unidos e ingresó en el Curtis Institute of Music de Filadelfia (1931-1932), donde estudió composición con Rosario Scalero, historia con Beck y dirección de orquesta con Fritz Reiner. El autor regresó a Italia y, en 1937, se licenció en Letras en la Universidad de Milán, realizando una tesis sobre Zalino.

De 1937 a 1938 impartió clases de teoría y solfeo en la escuela de música Taranto. A partir de 1939 fue profesor de armonía, y después de composición, del Bari Liceo Musicale, y en 1950 pasó a ser su director, cargo que ocupó hasta 1978.

Cultivó todos los géneros, evitando la sensiblería, y trabajó con una perspicacia y una maestría técnica que le hicieron ganar el respeto, incluso de aquellos que lo consideraban pasado de moda. El autor consiguió un particular éxito con sus óperas Il cappello di paglia di Firenze (El sombrero de paja florentino), de 1946, y La visita meravigliosa (La visita maravillosa), de 1970, considerada como una alegoría de su filosofía, y con sus sonetos Mysterium Catholicum (1962) y La vita de Maria (La vida de María), de 1970, de una delicada y penetrante elegancia.

Sin embargo, Nino Rota debe su fama internacional a las bandas sonoras que compuso para películas de cine de directores como De Filippo en Nápoles millonaria (Napoli milionaria, 1950); Visconti en Il gattopardo (El gatopardo), de 1963; Zeffilleri en Romeo e Giulietta (Romeo y Julieta), de 1968, y Coppola en The Godfather I (El padrino I), de 1972, y II (1974), entre otros.

Sus partituras cinematográficas destacan por la atractiva sencillez y suelen ser melódicas e inolvidables. Obtuvo un Oscar por la música de El padrino II (1974), pero sus más relevantes obras para el cine se encuentran en las películas de Federico Fellini; la colaboración entre el director y el compositor, que se prolongó a lo largo de más de un cuarto de siglo, ha sido definida como una simbiosis entre imagen y sonido, como una interdependencia de sensibilidades afines, como se aprecia en La dolce vita (1959); Otto e mezzo (Ocho y medio), de 1963; Fellini Roma (1972), Amarcord (1974) e Il Casanova (El Casanova), de 1977, entre otras.
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source: hollywoodinvienna

Nino Rotas Vater war Pianist, er selbst galt schon in seiner Jugend als musikalisches Wunderkind, da er schon mit acht Jahren seine ersten Kompositionen präsentierte.
Schon mit 18 Jahren besuchte er das Curtis Institute in Philadelphia (Pennsylvania) und studierte dort Komposition und Dirigieren. Er war begeistert von der Musik der großen Hollywood-Filme.
Rota sah sich zwar sein Leben lang als „klassischer Komponist“, komponierte nach dem Zweiten Weltkrieg aber auch Filmmusik, insbesondere für Federico Fellini, mit dem er ab 1952 zusammenarbeitete. Fellini verwendete bis zum Tode Rotas 1979 für seine Filme ausschließlich dessen Musik. Außer für Fellini schrieb Rota auch Filmmusik für so bekannte Regisseure wie Luchino Visconti, Francis Ford Coppola oder Franco Zeffirelli. Er wurde besonders dafür geschätzt, dass er in kürzester Zeit auch ausgefallene Wünsche der Regisseure musikalisch umsetzen konnte. Das ist auf seine außergewöhnlichen Fähigkeiten als Improvisator zurückzuführen, die besonders in der Filmbranche von unschätzbarem Wert für ihn waren.
Insgesamt schrieb Nino Rota mehr als 150 Filmmusiken. Schon 1973 war er nominiert für einen Oscar für die beste Filmmusik für Francis Ford Coppolas DER PATE. Die Nominierung wurde allerdings zurückgezogen, als bekannt wurde, dass das Liebesthema bereits 1958 für den Film FORTUNELLA komponiert worden war. Immerhin erhielt Nino Rota im selben Jahr einen Grammy im Bereich Beste Originalmusik für dieses Werk. – Zwei Jahre später wurde er mit dem begehrten Academy Award für die beste Filmmusik in DER PATE – TEIL 2, ebenfalls von Francis Ford Coppola, ausgezeichnet.
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source: blogsyahoocojp

これはあくまでロータ自身の発言。「本業はあくまでクラシックの作曲であり、映画音楽は趣味にすぎない」と言っていたらしい。とはいえ、実質的にはモリコーネと並ぶ、イタリア最大の映画音楽作曲家であることに間違いはない。『太陽がいっぱい』（ルネ・クレマン監督/1960年）、『ロミオとジュリエット』（フランコ・ゼフィレッリ監督/1968年） 『ゴッドファーザー』（フランシス・フォード・コッポラ監督/1972年）これだけで十分だ。

「ロータの本職はクラシックの作曲家でした。その点ではコルンゴルトやウォルトン、オネゲルやショスタコーヴィチといった人々と同じ様な立場にありました。にも関わらず、ロータの場合は『映画音楽専門の作曲家』というイメージが強いのは、ロータがクラシックの作曲法にこだわらず、映画によってがらりとスタイルを変えて、莫大な量の映画音楽を生産し続けたからでしょう」。（早崎　隆志「映画音楽作曲家名鑑」）

ニーノ・ロータ（Nino Rota、1911年12月3日 – 1979年4月10日）は、「イタリアの作曲家。クラシック音楽と映画音楽で活躍した。北イタリアのミラノ出身。11歳でオラトリオ、13歳でオペラを作曲し、ミラノ音楽院、サンタ・チェチーリア音楽院で学んだ。その後米国に渡り、カーティス音楽学校に学んだ。帰国後ミラノ大学に入学し、文学と哲学を並行して専攻」。

「大学卒業後音楽教師となり、その傍らクラシック音楽の作曲家として活動を開始。1942年以降、映画音楽の作曲も始めた。1951年、当時新進映画監督として注目を集めたフェデリコ・フェリーニと出会い、その後フェリーニの映画の殆どの音楽を手がけることになった。心臓発作によりローマで死去、享年67。生涯独身だった」。（フリー百科事典）

フェリーニ監督作品
『白い酋長』（1951年）、『青春群像』（1953年）、『道』（1954年）、『崖』（1955年）、『カビリアの夜』（1957年）、『甘い生活』（1959年）、『ボッカチオ’70』（1962年）、『8 1/2』（1963年）、『魂のジュリエッタ』（1965年）、『世にも怪奇な物語』（1968年）、『サテリコン』（1969年）、『フェリーニの道化師』（1971年）、『フェリーニのローマ』（1972年）、『アマルコルド』（1974年）、『カサノバ』（1976年）、『オーケストラ・リハーサル』（1979年）