Andrey Tarkovsky, the genius of modern Russian cinema—hailed by Ingmar Bergman as “the most important director of our time”—died an exile in Paris in. Tarkovsky sets down his thoughts and his memories, revealing for the first time the original inspirations for his extraordinary films. Sculpting in Time: Reflections on the Cinema () by Andrei Tarkovsky translated by Kitty Hunter-Blair (, University of Texas Press).
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I loved the book – Tarkovsky is a surprisingly good writer – and I took from it a lot with regards to movie making, the relatio ships between the director and the actors, the audience and transmitting enough info I like movies. In science man’s knowledge of the world makes its way up an endless staircase and is successively replaced by new knowledge, with one discovery often enough being disproved by the next for the sake of a particular objective truth.
Ivan’s Childhood Still from Ivan’s dream. For his tie will always be a spiritual endeavour which aspires to make man more perfect: Why, as we look back, do we see the path of human history punctuated by cataclysms and disasters?
Sculpting in Time – Wikipedia
This means additional work by the director and additional script material. It’s a question of sudden flashes of illumination — like scales falling from the eyes; not in relation to the parts, however, but to the whole, to the infinite, to what does not fit in to conscious thought. What kept me going through all this, however, were the comments which clearly showed that there were people who minded about my work, and were actually waiting to see my films; only it was apparently in nobody’s interests to further my contact with that section of the audience.
Trying to adapt the features of other art forms to the screen will always deprive the film of what is distinctively cinematic, and make it harder to handle the material in a way that makes use of the powerful resources of cinema as an art in its own right.
And what does ‘passed’ mean for a person when for each of us the past is the bearer of all that is constant in the reality of the present, of each current moment?
Then the artist and thinker becomes the ideologue, the apologist for his time, the catalyst of predetermined change. When such a conflict occurs there is only one way out: For him to be aware that a sequence of such deeds is due and right, that it lies in the very nature of things, he has to have faith in the idea, for only faith interlocks the system of images for which read: But the 42 artist cannot be deaf to the call of truth; it alone defines his creative will, organises it, thus enabling him to pass on his faith to others.
Full text of “Andrei Tarkovsky – Sculpting In Time”
I wanted to use the example of Rublyov to explore the question of the psychology of artistic creativity, and analyse the mentality and civic awareness of an artist who created spiritual treasures ajdrei timeless significance. The wish to avoid expending my reflections in such a way made it easier for me to take up pencil and paper.
For the first time ever a film has become something real for me, and that’s why 1 go to see it, I want to get right inside it, so that I can really be alive. He knows that aesthetic structure has no need of manifestos, that the power of art docs not lie there but in emotional persuasiveness, in that unique hfe force of which Gogol wrote in the letter quoted earlier. These poetic revelations, each one valid and eternal, are evidence of man’s capacity to recognise in whose image and likeness he is made, and to voice this recognition.
That, however, is the end of any similarity between these two embodiments of the creative human spirit, in which man does not merely discover, but creates. As Thomas Mann wrote: They stand on man’s path like ciphers of catastrophe, announcing, ‘Danger! Notify me of new posts via email.
Let us imagine for a moment that people have attained happiness — a state of complete human freedom of will in the widest sense: And the masterpiece tarkovxky on living by its own laws, and has a tremendous aesthetic and emotional impact even when we don’t agree with the author’s fundamental tenet. Is it what has passed? He becomes a participant in tarkofsky process of discovering life, unsupported by ready-made deductions from the plot or ineluctable pointers by the author.
In he made Nostalgia in Italy and his last film. Of course memory has to be worked upon before it can become the basis of an artistic reconstruction of the past; and here it is important not to lose the particular emotional atmosphere without which a memory evoked in every detail merely gives rise to a bitter feeling of disappointment.
For the empirical ttarkovsky of intellectual cognition cannot explain how an artistic image comes into being — unique, indivisible, created and existing on some plane other than that of the intellect. If the film turns out well, I thought, then I’ll have the right to work in the cinema.
They seriously wanted to understand how and why cinema, and my work in particular, affected them as it did; they wanted answers to countless questions, in order to find some kind of common denominator for their random and disordered thoughts on cinema and on art in general. He refers to “The Mirror” quite a lot throughout the book, so that film in particular is a must.
What overwhelming truth in the characters and circumstances! Tarkovsky considered art to be a yearning for the ideal.
Sculpting in Time
I decided to see all of Tarkowski’s movies. Home Contact Us Help Free delivery worldwide. In a very real sense every individual experiences this process for himself as he comes to know life, himself, his aims.
Science and technology are stifling our humanity and closing us off from one another, somehow paradoxically. How euphonic the voices were, how beautiful the pauses! One can understand how dramatic that moment was for those two souls, just emerged from the state of placid ignorance and thrown out into the vastness of the earth, hostile and inexplicable. In this book Tarkovsky explains the methods behind his films; and not in a techni A book that both inspired me immensely, and aided in destroying all interest I had in film.
Towards the end of the book, he mentioned that he saw an undeniable link between civilisational decay and a preoccupation with materialism: Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: You are commenting using your WordPress.