Time Within Time - Tarkovsky 与老子 6/09/2010 17:06

据说为了取得这样的绿色,是染色在胶片上的。

Yesterday I borrowed and started reading Tarkovsky’s diaries – Time Within Time. After watching his movie Stalker, I had a strong sense that he is either a natural Taoist or is influenced by it.

However, in his book Sculpting in Time, there is mention and appreciation of Zen but not Tao. And I have not found the word Tao in reading interviews with him or books about him. So I was excited to find his diaries. I am curious to find evidence that he has read Tao or that there are books about Tao on his book shelves.

And Yes! At page 11 he quoted Lao-Zhu, “Religion is the one area set aside by man to define what is powerful. But ‘the most powerful thing in the world’, said Lao-Tzu, ‘cannot be seen or heard or touched.’” I believe one has to know a little Tao to truly appreciate the ending of the movie. The ending of Stalker is often interpreted (from what I’ve read) as another reconciliation, like in Mirror. But not here, at the very end of Stalker Tarkovsky pushed his theme, as if in music, two octaves higher, in my opinion (and I shall come back for a fuller analysis of this movie soon).

Does the quote indicate Tarkovsky had read about Tao De Ching? I am only 30 pages through the book so it’s still early to say. But it has been already clear that he is very fond of Hermann Hesse and we know that Hermann Hesse loved oriental philosophy and culture and had been influenced greatly by his father who had served in Indian.

As a distinct individual whose films focused on spirituality, it is not strange that Tarkovsky is drawn by Hermann Hesse, another great literary figure whose work is about art, philosophy and spiritual freedom. This reminds me how I encountered Hermann Hesse.

When I shortly arrived American years ago and was attending college, I went to the campus library looking for a sociological book. And I randomly picked a book from the bookshelf and it was Hesse’s Wandering: Notes and Sketches. I then randomly opened to a page that was his poem “Alles Tode”. In this poem, I sensed his association of human with nature, death with rebirth, the fleeting moments with eternity. This kind of association is very much oriental both in Buddhism and Taoism. I was happily surprised by my encounter with him so I borrowed the book and took it home with me. Only later, I knew Hesse was famous and a Nobel Prize winner in literature. For a period of time, when I individual experienced great conflict between self and the external world, I had read through all of Hesse's books. They offered great relief and inspiration. Most importantly, it justified the struggle - "What you call passion is not moral energy but friction between the soul and the external world."

This year, I have been fascinated by Tarkovsky and have been reading books about him. In Chinese words and Buddhist terms, this is called ” 缘”.

ALLE TODE

by Hermann Hesse

Alle Tode bin ich schon gestorben,
Alle Tode will ich wieder sterben,
Sterben den hölzernen Tod im Baum,
Sterben den steineren Tod im Berg,
Irdenen Tod im Sand,
Blätternen Tod im knisternden Sommergras
Und den armen, blutigen Menschentod.

Blume will ich wieder geboren werden,
Baum und Gras will ich wieder geboren werden,
Fisch und Hirsch, Vogel und Schmetterling.
Und aus jeder Gestalt
Wird mich Sehnsucht reißen die Stufen
Zu den letzten Leiden,
Zu den Leiden des Menschen hinan.

O zitternd gespannter Bogen,
Wenn der Sehnsucht rasende Faust
Beide Pole des Lebens
Zueinander zu biegen verlangt!
Oft noch und oftmals wieder
Wirst du mich jagen von Tod zu Geburt
Der Gestaltungen schmerzvolle Bahn,
Der Gestaltungen herrliche Bahn.

ALL DEATHS

I have already died all deaths,
And I am going to die all deaths again,
Die the death of the wood in the tree,
Die the stone death in the mountain,
Earth death in the sand,
Leaf death in the crackling summer grass
And the poor bloody human death.

I will be born again, flowers,
Tree and grass, I will be born again,
Fish and deer, bird and butterfly.
And out of every form,
Longing will drag me up the stairways
To the last suffering,
Up to the suffering of men.

O quivering tensed bow,
When the raging fist of longing
Commands both poles of life
To bend to each other!
Yet often, and many times over,
You will hunt me down from death to birth
On the painful track of the creations,
The glorious track of the creations.

Translated by James Wright
haha, 终于在147页, 确凿无疑地找到了Tarkovsky在Stalker这部电影里的台词和哲学是道家哲学. 竟然那么多分析他电影的人没有看到这一点! 我第一次看就感受到了. 终于找到证据了. happy 你们看看这样的话不是老子说的, 难道会从耶稣 嘴里说出来吗? 而我读的书里不乏讨论Christianity 对Tarkovsky 的艺术创作的影响.

page 147,

'Weakness is great, strength is insignificant. When man is born he is weak and malleable. When he dies he is strong and callused.
'When a tree is still growing it is flexible and tender, and when it is dry and hard, it dies. Callosity and strenght are the companions of death.
'Pilancy and weakness are signs of the freshness of being. What has grown hard will therefore never triumph.' - Lao-Tzu, taken by Leskov as the epigraph to Pamphalon the Buffoon.

我这个侦探还不错嘛, 自我表扬一下可以休息了. 题目也可以改了.

happy happy

知道我是自说自话, 自美自痴啊, 也够了. 当然有人分享会美上加美, 这样一个在我眼里'真正的艺术家'的电影, youtube上有, 但是俄语的. 不过据说第一遍听不懂语言也非常有意思. 谁愿意实验一下告诉我看望什么感觉? 我已经来不及了, 第一遍看就听见了.

wildcrane at 6/09/2010 23:55 快速引用
最耐人寻味的是Tarkovsky在一个‘共产主义’(社会主义)国家创造出了这样叫做‘艺术’的电影。虽然,他每每想做电影都要被审批,做出来的电影要求裁减(他一般都拒绝了),不允许发行,不允许提交嘎纳电影节等等。所以许多年里他生产的电影数量有限,但没有一个是妥协灵魂的产物。当然他56岁就过世了 (受到考验的时间不够长)。

做完Stalker以后他去了欧洲离开了苏联,却发现电影受“经济市场”和’资本盈利‘的控制,这张手的控制力比社会主义那张手似乎还强硬。在‘资本’的控制下,导演本身就基本上自动的顺乎关于‘资本’的意识形态天经地义地丢掉了灵魂,所谓好的导演变成技术好模仿力强适应或操纵大众喜好的人。可惜的是,社会主义整天含着口号‘艺术要为人民大众服务’却产生一批反叛的人,没曾想资本主义产生了为人民大众服务的艺术,同时‘艺术家’的腰包里揣得更厚,俩全齐美,何乐而不为对吗?在这样的环境下,不背弃自己灵魂的人岂不成了疯子傻瓜和贫困的不为众人知道的艺术家?
wildcrane at 6/10/2010 15:40 快速引用
新闻里看到纽约Empire State Building 没有给Mother Teresa 点灯遭到谴责。这样的谴责我不反对,我也尊重Mother Teresa。

可是为了证明Empire State Building多么的evil 便引证了一个他们认为的反例,就是去年Empire State Building 竟然为'Communist China'60国庆日点灯了。The word 'Communist' is very loaded here, 延续着冷战时期遗留下来的意识形态的敌对斗争。

且不说当今中国实在不能称做是共产主义,而是一个一党制的资本主义国家。重要的是资本主义如果中期还有光环(早期是不太有的),发展到今天其危害的程度可能不亚于共产主义吧(无论是对人还是对自然界,只是这个人可能是将来的人我们不在乎)。

社会主义的景观乔治欧文在他的小说Animal Farm里做了生动地描述和比喻。资本主义的景观其实也可以用animal farm来形容。区别是前者里众多的animals被少数集权者愚昧和abuse, 后者是被少数集钱者喂着加了各种生长剂的‘好吃的’高高兴兴长的肥又大的动物,另一个区别是后面的动物真的包括动物(看看在BP制造出的地狱里的无辜的鸟儿们)前者是象征人。



This photo is from The Times. Yes, it is very hard to watch! cry cry
wildcrane at 6/10/2010 16:21 快速引用
道家的哲学是有关系的,与当代是relevant的,人还想自救必须取智慧于道家哲学。这也是中国可以向世界贡献的部分。

所以任何对于政府的态度应该和对自己文化的态度分开,至于到底政府是‘母’或‘父’,还是‘母’或‘父’有着更广泛的令人纠结的定义是值得思考的。因为这个界定跟我们如何改变不满意的状态的做法有关系。

显得有点跑题了,其实没有跑。有时间还要慢慢的讲来。
wildcrane at 6/10/2010 16:38 快速引用
虽然我也尊重佛教,但佛教太‘随和‘了。一向认为宗教的领域应该是关于灵魂的领域,而不是和政权结合的领域(这是我为什么一直对西方宗教有贬低的缘故)。

这些年回中国,佛教圣山圣寺去过峨眉山,九华山,普陀山,临隐寺,灵山,等等,发现香火好旺,四处都在修非常高的佛像,基本是贴金烧钱建起来的。我感觉与政府共建‘和谐’社会是一方面,但总感觉更重要的可能与发了大财的人的‘畏惧’有关,可能是怕‘报应’,怕五雷轰顶,怕,怕,怕的结果吧?

当然,如果因为佛教的缘故使这些人还害怕‘因果’,倒也不失其积极作用。其次,我也不反对宗教机构作为重新分配社会财富的职能。

只有以老子骑牛西走所代表的道是一种不妥协的有独立精神的道。
wildcrane at 6/10/2010 17:13 快速引用
俩个animal farms, 一个用权换钱,另一个以钱买权,总之是钱权不分的。
如果说一个社会是抹杀个人,另一个繁荣自由的基础是掠夺自然(尤其是其他国家的自然和廉价劳动力)。这种自由一些人享受到了,自然承受了代价。当世界格局变化了相对优势没有了,或者自然的地方都资本主义化了掠夺性开发了,当下的资本主义还会有优势吗?往哪里去呢?

再说一句跑题的:儿可以嫌母丑,却不要指贼作父 smile
wildcrane at 6/10/2010 19:33 快速引用
奥巴马在BP石油一事上的反应,说明他不真正具有compassion 或任何长远眼光。他只能是一个mediocre的政治人物。

这件事会影响我们所有的人,我们真的不应该袖手旁观。

http://www.shenghuonet.com/phpBB2/viewtopic.php?t=59930
wildcrane at 6/11/2010 17:06 快速引用
又看了一遍Stalker. 结尾依然令人感动. 我想到的词是sublimation. 不是reconcilation.

电影结尾水帘门的一幕绝对是借鉴了罗生门.
wildcrane at 6/19/2010 12:06 快速引用
电影是以贝多芬第九交响乐的最后一个部分 - Ode To Joy 结尾的. 我们知道, Ode To Joy 是第九交响乐最后的高潮climax. 所以从Tarkovsky对于音乐的选用, 我们也应该把结尾看成高潮, 而不是和解 (a reconcilation).

其次, 电影里的孩子和贝多芬本人都超越了自己的残疾, 所以我把它理解为一种 sublimation.

Ode To Joy 原本是席勒的诗, 贝多芬改了一点. 我查了3个翻译, 比较喜欢这个和维吉里的.

Ludwig Van Beethoven
Ode To Joy lyrics

BARITONE
Oh friends, not these tones!
Let us raise our voices in more
Pleasing and more joyful sounds!

ODE TO JOY (Friedrich Schiller)

BARITONE, QUARTET, AND CHORUS
Joy, beautiful spark of the gods,
Daughter of Elysium,
We enter fire imbibed,
Heavenly, thy sanctuary.

Thy magic reunites those
Whom stern custom has parted;
All men will become brothers
Under thy gentle wing.

May he who has had the fortune
To gain a true friend
And he who has won a noble wife
Join in our jubilation!

Yes, even if he calls but one soul
His own in all the world.
But he who has failed in this
Must steal away alone and in tears.

All the world's creatures
Draw joy from nature's breast;
Both the good and the evil
Follow her rose-strewn path.

She gave us kisses and wine
And a friend loyal unto death;
She gave lust for life to the lowliest,
And the Cherub stands before God.

TENOR SOLO AND CHORUS
Joyously, as his suns speed
Through Heaven's glorious order,
Hasten, Brothers, on your way,
Exulting as a knight in victory.

CHORUS

Joy, beautiful spark of the gods,
Daughter of Elysium,
We enter fire imbibed,
Heavenly, thy sanctuary.

Be embraced, Millions!
This kiss for all the world!
Brothers!, above the starry canopy
A loving father must dwell.

Can you sense the Creator, world?
Seek him above the starry canopy.
Above the stars He must dwell.

Be embraced, Millions!
This kiss for all the world!
Brothers!, above the starry canopy
A loving father must dwell.

Can you sense the Creator, world?
Seek him above the starry canopy.
Above the stars He must dwell.

Joy, beautiful spark of the gods,
Daughter of Elysium,
We enter fire imbibed,
Heavenly, thy sanctuary.

Be embraced, Millions!
This kiss for all the world!
Brothers!, above the starry canopy
A loving father must dwell.

Can you sense the Creator, world?
Seek him above the starry canopy.
Above the stars He must dwell.

Be embraced, Millions!
This kiss for all the world!
Brothers!, above the starry canopy
A loving father must dwell.

Can you sense the Creator, world?
Seek him above the starry canopy.
Above the stars He must dwell.

Joy, daughter of Elysium
Thy magic reunites those
Whom stern custom has parted;
All men will become brothers
Under thy gentle wing.

Be embraced, Millions!
This kiss for all the world!
Brothers!, above the starry canopy
A loving father must dwell.

Joy, beautiful spark of Gods!,
Daughter of Elysium,
Joy, beatiful spark of Gods!.
http://www.lyricsmode.com/lyrics/l/ludwig_van_beethoven/ode_to_joy.html
wildcrane at 6/19/2010 21:50 快速引用
感觉到这部电影(Stalker)中有东方韵味首先是从train ride那段音乐里得到的(也是主题音乐后来反复出现, 感觉blade runner 接见了这不电影音乐部分).

Edouard Artemiev是Tarkovsky 三部电影界("Solaris", "Mirror" and "Stalker") 的编曲. 一下是对他的采访. 这个采访也引证, 导演确实在当时对婵有兴趣 (这要求我必须在写文章的时候简单解释一下婵和道的关系).

借此间接回答一下Luanne问我的问题, 对小昆Kill Bill的一点对比评论, 就是小昆非常需要用extreme close-up 和非常强的音乐来操纵观众心理. 这和Tarkovsky的运用非常不同. 虽然我觉得不一定要按照T的审美, 对音乐的肯定作用我在"Blue"里有体会, 觉得是成功的运用.

Wednesday, November 14, 2007
Interview with Edouard Artemiev
Category: Music
Interview with Edouard Artemiev, composer for "Solaris", "Mirror" and "Stalker".

(taken from the DVD "Mirror", Moskwood Media/ Ruscico)

"I was struck by his [Andrei Tarkovsky's] attitude to music in film, precisely, in his films. He told me right away that he didn't need a composer at all. He needed the composer's ear and his masterful command of sound, in order to mix music, to make musical effects. Possibly, to add some orchestra, but so that it didn't stand out. So that it be the background sound organized compositionally. I was simply startled by this. But so it was when we filmed "Solaris", "Mirror" and "Stalker". This idea of his was constantly present. He did not need music as a developing theme. "This is not a concert," he said, "This is something special." "When I run short of cinematic means, then I put on music." But since he, basically, had enough means, he needed a composer only as an organizer of the background sound. And if a film needed some music, as in "Solaris", he used Bach. There was Bach in "Mirror", too, it was either "The St. John Passion", or "The St. Matthew Passion". Music as the lining to image he did not want. Once Tarkovsky told me a very interesting thing. I asked him: "Why? I can write something for the film too." He answered that cinema had no roots, that it was too young an art. It is only one hundred years old. To give the viewer a sense of deep roots, to make a linkage with the world art, the music of old masters is needed. As well as the paintings of old masters which he did quote. For example, Leonardo da Vinci. Subconsciously, it creates, as he believed and was right to believe, the deep roots for that art. Thus eliminating the question whether it is an art or not. It is simply a new way of presentation, not a new art. These ideas of his overwhelmed me at the time. We were working then on "Solaris" it took me a long time to overcome myself. During our collaboration I worked out a special language. Amazingly, that language has never been required again. I worked out my own system of images, my own system of recording, of scoring. It took me a long time to arrive at it. And all this exists now as the music to Tarkovsky's films. That manner of music was never required by anyone else. No one ever asked me about it. Strange, but that's the story. I began a new cycle and I closed it. Tarkovsky is gone, and it had no use anymore. And I doubt that it will ever be used again."

(…)

"I did not see much of Tarkovsky. Only when we worked together. Andrei was a very closed man, I think. We had known each other for several years. We met in 1970, and he died in 1986. A period of 16 years… It was rare that we got together at his or some other's place for drinks… This was very rare… I thought Andrei was a very shut-up man. He had only one close friend, Anatoly Solonitsyn. They were linked by some mysterious ties. Amazingly, they even died of the same illness. Some mystical connection… I remember Andrei sitting in his chair in an editing room. A yellow chair, which he filmed in "Solaris"."

(…)

"It seemed that he was constantly thinking very hard about something. He was always wrapped up in himself. It was not difficult for me to be around him: we talked, joked… But we never became close, I don't know why… When he started a new film, he called me up and invited me to come and see. We met for a film, and then our ways parted…"

(…)

"Speaking of Andrei's strange way of working with composers, he never came for the recordings of music, which left you in a limbo. Of course, I was sure of what I've written. But the director is the only man who knows how it will work out. He sees and hears everything. He can say whether it's good or not, because he has a whole picture of the film in his head. I asked Tarkovsky: "Why don't you come to the recording?" He answered that the recording was not a concert. During the recording he may like the music that doesn't suite the image. It's better to decide later, with everything ready, if the music's good. I remained in the limbo 'till the very end; it was horrible. I felt nervous all the time. We recorded tons of music, several versions: four, five, six, even eight versions. And we never knew whether this music would be accepted or not. But one day he came to the recording. When he was just starting on "Stalker". At that time he was very attracted to the Zen Buddhism philosophy. Pomeranets, I don't remember his first name, gave him his thesis, a Master's or a Ph. D. thesis on Zen Buddhism. Pomeranets got no chance to defend that thesis, he was not allowed to. Andrei gave me that thesis, I even copied it by hand. Andrei told me to read the thesis, because it was important to him for me to understand the "East-West" idea. Or at least to be aware of it. We had a long conversation. I seemed to understand everything… He needed a musical theme to be played on an Oriental instrument but to be of the European character. This kind of structural combination. But at the same time, he said that those two rivers would never converge. I understood everything literally and he felt I was not getting it right. Suddenly he came to a recording. At that point I got really nervous. I invited one of the performers from Armenia. There is an instrument called "tar". It's well-known in the East. I forgot the name of that performer. Currently he resides in America. He's quite famous, plays in Hollywood. He knew very well religious music of different peoples. The one that is played in Azerbaijan, the religious music, the mugams… He was terrific… He was quite young at that time… I didn't know he was so well educated in the field of music. Many people can play folk instruments not being able to read sheet music. But he did know it, he studied violin at a Conservatory. I dug into my library and found a medieval melody devoted to Virgin Mary, a 14th or even 12th-century melody. I showed it to Andrei, and he said that it would do. It was sort of a ascetic, frugal melody. I arranged it, with the tar playing the melody in an Eastern timbre. Andrei listened to it, then called me and said: "That's not it. Absolutely. Be sure that the musical editor wouldn't hear it." I asked him: "What are we going to do? I can't redo it now." He said that we should record it, sign all the documents, and then… He already reshot the film all over, so we'll do the music anew, too. Lukina, the musical editor, whom everybody feared like the plague, asked Tarkovsky if he approved the music. He said everything was fine. After that we resumed our meetings, having long talks… I just couldn't understand how to do it… The most simple solution never comes to you right away. It was much later that I remembered about the Indian tradition of improvisation, when the vina instrument hums the main tone, and the solo instrument, the sitar, begins modulating the theme's variations. I liked the idea. I realized that it was what we needed. I could do without an orchestra. I just invited this tar player, a small string orchestra, a Synthy-100 synthesizer, and a block flute. The tar played the melody… I asked them not to play the mugams, not to indicate the tradition. I needed an improvisation on the theme, not a tradition. The player understood me at once, although afterwards we got several letters from Azerbaijan. People recognized the mugams in that melody. It was amazing… After all, we came very close to the tradition. Over mostly static music, a medieval solo tune on a block flute. Andrei said that was the right music. But I had come a long way to it. And it seemed so simple. I searched and searched, and at the last moment had found it. Andrei had used that theme again and again throughout the film. I had written a lot of other music, but he used only this tune. I also remember making in Holland a record with music to Tarkovsky's film. I included in it a melody written for "Stalker". It was called "A Long Walk". For the scene when the heroes walk down the pipe, that passage… I wrote the music. Tarkovsky said it was good. When I came to the recording, I saw Tarkovsky was putting it on and off. I asked him what was the matter. He said that if he could do without music, he wouldn't use it at all. He just didn't need any music there. It was a rhythmic melody. It puts you in a state of meditation. He needed no music there. I began to watch him very closely. I came to each recording session. Then Tarkovsky decided that he couldn't do without music. I relaxed and stopped coming. And he put it off! At the last moment he eliminated it from the film. I believe that his wish to hold out without music was wrong. I watched that film many times, and the music is missing there. Maybe not this kind of music, maybe some other music…"

(…)

"There was another story, with the train. At the ending of "Stalker" a train is passing by… And, together with the rumble of wheels, we hear familiar intonations. Beethoven's Ninth Symphony. Other popular symphonic hits, Bizet… I don't remember all now… A whole set of well-known works that would affect the viewer subconsciously because everyone heard them, they're daily broadcast on the radio. I asked Tarkovsky: "What do you need it for?" He said that when a train rushes by or you ride in a train… I felt it too… you hear some music in the rumble of the train, in the rhythmically organized rumble of wheels. I also heard some music. Like in a waterfall, if you listen to it long enough, you begin to pick up some melodic circulation of water, some sounds… He just wanted to show it. It didn't have any meaning. It didn't mean that civilization was rushing somewhere, no… It was just a peculiar scene which had some special effect. Because everyone had his own memories connected with that sound, everyone hears something in it… Once we spent some time together with Andrei. It was after "Mirror", I think. We went for a few days to my parents'. They lived in Zagorsk. Andrei came for three days with Larissa, his wife. The little Andrei was still a baby. We spent the time as we always do, sitting at the table and talking. We discussed nothing special, we were just drinking… A peaceful talk about some trifles, not about art. Everyone remembered something, some incidents. Andrei recalled how he was a geologist. He often told us about it at the time. How they were perishing there, and so on… He became a geologist because his doctor advised him to go to Siberia. Strangely, it was to Siberia, not to the South, in order to cure his lungs. He had a TB, and he believed that the Siberian air had cured him. It was really so, he had been well for many years. Later, though, his TB had unexpected consequences. He told us about an old geologist whom he regarded as his teacher. That geologist showed him, not exactly how to communicate with nature, but many things that a stranger would never notice in the taiga, and that man had lived there all his life. Andrei said that the man influenced him very much, as a man of nature. Tarkovsky said that he was a very old man. You see, my recollections are rather sketchy… In several books about Tarkovsky, I recall one unique incident. It was at some party. Misharin, I think, brought a test, a test of genius. There were many people there. We drank home-made vodka. Someone brought it, and there was regular vodka, too. But we all stuck to that home-made brew of some yellowish color. The test of genius was like that. There was a blank sheet of paper, crossed up in the middle. You hade to write whatever you liked, and then it would become clear. I think it was Sasha Misharin who said he would explain who was a genius, who had a talent and who had none. Everyone got nervous and tried to think up something. Me too. I remember perfectly well how Andrei behaved in this situation. He took the sheet, turned it over and drew something on it. That was exactly the right thing to do. This again comes from the ratio. This amazing concentration and a rational approach. He had a rare, enormous gift of concentration. That he had done so much, and, most importantly, how he had done it, was due to that ability of his to concentrate, which is very rare. In art, in general, concentration is a very serious thing. A true concentration… When your comprehension is very deep. A very few people can do it, only great artists."

[end]



Read more: http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=277829383&blogId=328502244#ixzz0rMEKxnvz
wildcrane at 6/19/2010 22:51 快速引用
看过Blade Runner的人, 听下面连接里train clattering那部分伴随的音乐, 是不是有点声的影子?

http://www.myspace.com/forandrei/music/playlists
wildcrane at 6/19/2010 23:13 快速引用
又发现了Tarkovsky是白羊座的, 4/4, 怪不得他这么喜水. 他自己是baby fire - 执着而单纯灵魂的搜寻者, 所以他的电影里水火共现.

mmd, 我如此这般八挂他, 竟然没一个人跟我8挂一下. Laughing
wildcrane at 6/20/2010 23:01 快速引用
What is creation? What is the use of art? The answer to this question resides in a formula: “art is a prayer.” That says it all. Through art, man expresses his hope. Everything that does not express this hope, whatever is not fundamentally spiritual, has nothing to do with art. Otherwise, in the best of cases it’ll be but a brilliant intellectual analysis. (interview with Laurence Cosse in 1986, p166).

Modern man is too preoccupied by his material development, by the pragmatic side of reality…Right now man is developing into a kind of earthworm: a tube that swallows up material and leaves little piles of waste behind him. Don’t be surprised if one day the earth disappears because man has swallowed it all. What good is it to go out into space if it’s only to distance ourselves from the fundamental problem of man: the harmonizing of the spiritual and the material world.” (Interview p173)

Gianvita, John (Ed.) Andrei Tarkovsky: Interviews. University Press of Mississippi / Jackson, 2006.
wildcrane at 6/25/2010 11:36 快速引用
wildcrane :
看过Blade Runner的人, 听下面连接里train clattering那部分伴随的音乐, 是不是有点声的影子?

http://www.myspace.com/forandrei/music/playlists

我想买雕刻时光久矣,一直没成功。这个playlist很不错,多谢推荐。
vieplivee at 6/25/2010 23:46 快速引用
vieplivee :
wildcrane :
看过Blade Runner的人, 听下面连接里train clattering那部分伴随的音乐, 是不是有点声的影子?

http://www.myspace.com/forandrei/music/playlists

我想买雕刻时光久矣,一直没成功。这个playlist很不错,多谢推荐。


我也打算买一本放在自己书架上. 鉴于目前我的俩个书架double parking, 其结果是歪歪扭扭摇摇欲坠, 整个一个后现代作品.

所以要等换了书架才能买.
wildcrane at 6/29/2010 21:55 快速引用
vieplivee :
wildcrane :
看过Blade Runner的人, 听下面连接里train clattering那部分伴随的音乐, 是不是有点声的影子?

http://www.myspace.com/forandrei/music/playlists

我想买雕刻时光久矣,一直没成功。这个playlist很不错,多谢推荐。


我在读Bergman的Magic Lantern. 他这样评价Tarkovsky:“When film is not a document, it is a dream. That is why Tarkovsky is the greatest of them all. he moves with such naturalness in the room of dreams. He doesn’t explain. What should he explain anyhow? He is a spectator, capable of staging his visions in the most unwieldy but, in a way, the most willing of media. All my life I have hammered on the doors of the rooms in which he moves so naturally. Only a few times have I managed to creep inside. Most of my conscious efforts have ended in embarrassing failure – The Serpent’s Egg, The Touch, Face to Face and so on.
Fellini, Kurosawa and Bunuel move in the same fields as Tarkovsky. Antonioni was on his way, but expired, ….” (p73).

我真是情有独钟的一个人吗?今年真的是爱上了Tarkovsky. 为了更多的了解他,看来要补好多俄国文学和哲学宗教的课了。

小的时候,因为比我大10岁的哥是个文学青年,而且是个崇洋媚外的文学青年,那个时候的洋是指美国和欧洲,所以诸如巴尔扎克,莎士比亚,马克土温,杰克伦敦,欧亨里,惠特曼,海明威,卡夫卡,福楼拜,司汤达,雨果,勃朗特,哈代,霍桑, 茨威格,卢梭, 席勒,歌德,小仲马,大仲马,罗曼罗兰,狄更斯,左拉,莫泊桑, 都德。。。等等。

虽然现在并不能搞清楚每个人是哪国人(外国名字到底是什么),但还是有记忆。大学里才读了诸如萨特,加缪,尼采之流。

俄国文学书籍好像在我崇洋媚外的哥的书架上为数不多,除了读过收集在“世界著名短篇小说”(或中篇)中的故事(不记得名字但记得有一片故事写得非常的意境深远)以及普希金,莱蒙托夫,车尔尼雪夫斯基的《怎么办?》,《牛邙》和《保尔卡嚓金,托尔斯泰 得安娜卡列尼娜以外没有读过,托斯托也夫斯基的书好象都没有读。

这样说着说着发现我的文学青年的哥的书架上还是有俄国文学巨匠们的作品的,是我自己没怎么读。

罗嗦了半天,下一个任务就是补俄罗斯文学的课。
wildcrane at 7/09/2010 15:04 快速引用
vieplivee :
wildcrane :
看过Blade Runner的人, 听下面连接里train clattering那部分伴随的音乐, 是不是有点声的影子?

http://www.myspace.com/forandrei/music/playlists

我想买雕刻时光久矣,一直没成功。这个playlist很不错,多谢推荐。


vieplivee, 你一定看了黑泽明的Throne of Blood。Tarkovsky非常喜欢黑如何反映士兵们丢失了向,我认为他在Stalker里借鉴了,一个地方他们三个人绕了三回。
wildcrane at 7/09/2010 15:08 快速引用
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