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?????????? ????????????? ??? ?? ???? ???? ?????? ????? ?? ???? ??? ?? ?????? ?????????? ????? ???. ???? ??? ???? ?????????? ?? ?? ????? ?????? ??? ? ????? ??? ?? ?? ????? ????? ???. ?? ????? ??????? ???? ? ???????? ? ?????? ??????????? ????? ???? ??????????? ?? ?? ???? ? ???? ????????????? ???? ???? ???. ?? ??????? ???? ???? ????????? ???? ???? ????? ??????????? ???? ? ??????????? ????? ??? ?? ????? ???? ????? ???? ? ???? ??????? ????? ??? ?? ???? ?????? ?????? ??????? ?? ????? ???? ??? ? ?? ??? ??? ???? ?????? ??????? ?? ????? ?? "??? ???? ?? ???" ???.?
232 pages, Paperback
First published January 1, 1959
50 people are currently reading
2,231 people want to read
About the author
Albert Camus
942?books35.2k?followersWorks, such as the novels
The Stranger
(1942) and
The Plague
(1947), of Algerian-born French writer and philosopher Albert Camus concern the absurdity of the human condition; he won the Nobel Prize of 1957 for literature.
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calderón de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'?tranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese 阿尔贝·加缪
Origin and his experiences of this representative of non-metropolitan literature in the 1930s dominated influences in his thought and work.
He also adapted plays of Pedro Calderón de la Barca, Lope de Vega, Dino Buzzati, and Requiem for a Nun of William Faulkner. One may trace his enjoyment of the theater back to his membership in l'Equipe, an Algerian group, whose "collective creation" Révolte dans les Asturies (1934) was banned for political reasons.
Of semi-proletarian parents, early attached to intellectual circles of strongly revolutionary tendencies, with a deep interest, he came at the age of 25 years in 1938; only chance prevented him from pursuing a university career in that field. The man and the times met: Camus joined the resistance movement during the occupation and after the liberation served as a columnist for the newspaper Combat.
The essay Le Mythe de Sisyphe (The Myth of Sisyphus), 1942, expounds notion of acceptance of the absurd of Camus with "the total absence of hope, which has nothing to do with despair, a continual refusal, which must not be confused with renouncement - and a conscious dissatisfaction."
Meursault, central character of L'?tranger (The Stranger), 1942, illustrates much of this essay: man as the nauseated victim of the absurd orthodoxy of habit, later - when the young killer faces execution - tempted by despair, hope, and salvation.
Besides his fiction and essays, Camus very actively produced plays in the theater (e.g., Caligula, 1944).
The time demanded his response, chiefly in his activities, but in 1947, Camus retired from political journalism.
Doctor Rieux of La Peste (The Plague), 1947, who tirelessly attends the plague-stricken citizens of Oran, enacts the revolt against a world of the absurd and of injustice, and confirms words: "We refuse to despair of mankind. Without having the unreasonable ambition to save men, we still want to serve them."
People also well know La Chute (The Fall), work of Camus in 1956.
Camus authored L'Exil et le royaume (Exile and the Kingdom) in 1957. His austere search for moral order found its aesthetic correlative in the classicism of his art. He styled of great purity, intense concentration, and rationality.
Camus died at the age of 46 years in a car accident near Sens in le Grand Fossard in the small town of Villeblevin.
Chinese 阿尔贝·加缪
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October 4, 2022
Todo el mundo sabe que soy un ferviente admirador de Fiódor Dostoievski y el hecho de que un grande de la literatura como Albert Camus haya tenido a “Los Demonios”, del gran autor ruso como uno de los libros que más lo influenciaron en su carrera hizo que esa admiración fuera más grande aún.
Y Camus, a quien ya leí en “El extranjero”, “La peste”, “El mito de Sísifo” y “El exilio y el reino “ y “La caída”, sigue maravillándome por su estilo literario tan particular. No vamos a dudar de que Dostoievski influenció a muchos autores.
Tal vez el caso de Franz Kafka sea uno de los más emblemáticos puesto que el gran autor checo se sentía identificado en muchas de las ense?anzas que Dostoievski dejó en sus libros.
Albert Camus quería hacer algo en parte como homenaje a Dostoievski y a “Los Demonios” y por otro lado por lo que las ideas expuestas en el libro significaban para él, ya que tuvo directa implicancia en su obra.
En su libro “El mito de Sísifo”, que el autor publicara en 1942, ya incluía un capítulo dedicado a Alexéi Nilich Kirilov, uno de los personajes más particulares de “Los demonios”, en donde se ahondaba en las cuestiones acerca del nihilismo, el suicidio y el absurdo.
Camus escribió una adaptación del libro en una obra de teatro que llegó a tener su representación el 30 de enero de 1959 en el Teatro Antoine de París.
Adjunto un link de youtube en donde Camus habla sobre el nihilismo y su obra: ...
Para dicha adaptación, además de “Los Demonios”, utilizó el texto de “La Confesión de Stavroguin” (cuadro decimocuarto de la obra) y diversos textos que Dostoievski escribió durante la creación de su propio libro.
Leer “Los Poseídos” es tener acceso a una rese?a perfecta del libro original sin perder esta, su brillo propio, ya que todos los hechos más sobresalientes fueron incluidos aunque no todos fueron representados en escena. Tan solo unos pocos de los son transformados en comentarios puesto que no alteran al desarrollo de la obra. Con respecto a los personajes, la gran parte de los que aparecen en el libro estarán presentes en ella.
Me agradó muchísimo volver a encontrarme con todos ellos. Redescubrir los ideales nihilistas de Piotr Stepánovich Verjovenski, por ejemplo, en ese famoso axioma que Dostoievski posteriormente desarrollaría en Iván Karamazov: “Si Dios es una mentira, entonces estamos solos y somos libres. Usted se mata, usted prueba que es libre, y ya no hay Dios. Pero para eso tiene que matarse”.
De hecho, los cuatro demonios más importantes dominan la obra en escena, como dijera anteriormente Piotr Verjovenski, el malvado y contradictorio Nikólai Vsevolódovich Stavroguin, quien es todo un caso aparte, de hecho es parte de un libro paralelo a “Los Demonios” (“La Confesión de Stavroguin"), Alexéi Nilich Kirilov, nihilista y existencialista y también Shátov, el estudiante en constante búsqueda de Dios, este último tiene un especial afecto para mí, puesto que sus ideales son más que puros. Lo veo como una especie de mártir necesario para que los argumentos de ambos libros tengan la coherencia necesaria.
Ninguno de los personajes secundarios (Dasha, Lizaveta, Lebiadkin, Maria Timofeievna, Várvara Stavroguina y Stepan Trofímovich Verjovensky) faltan en la obra.
El caso de Kirilov, que como comentaba, ya había formado parte de una capítulo de su ensayo es llevado a escena pero poniéndole Camus un toque de impronta "mersaultiana" en su carácter nihilista. Kirilov tiene pensado suicidarse en “Los Poseídos” también, pero su estado de ánimo tendrá más desasosiego que el original de “Los Demonios”.
Este es un suicida que siente que no tiene más para dar en la vida. Simplemente demostrar su ateísmo y basar su doctrina nihilista en el suicidio como acto de negación a Dios. Llegando al final de la obra ya nada le importa. Al de Dostoievski, todavía le queda algo de lucha interna. Pero a este Kirilov no, dado que ya selló su destino cuando hablando con el narrador Grigoreiev le dice: “Vivir o morir es indiferente".
He disfrutado mucho nuevamente de un libro de Camus, ya que sigue sorprendiéndome y haciendo crecer en mí la admiración que me genera leer sus libros. Realmente me alegra descubrir que tanto Albert Camus como yo...
?queremos tanto a Dostoievski!
Y Camus, a quien ya leí en “El extranjero”, “La peste”, “El mito de Sísifo” y “El exilio y el reino “ y “La caída”, sigue maravillándome por su estilo literario tan particular. No vamos a dudar de que Dostoievski influenció a muchos autores.
Tal vez el caso de Franz Kafka sea uno de los más emblemáticos puesto que el gran autor checo se sentía identificado en muchas de las ense?anzas que Dostoievski dejó en sus libros.
Albert Camus quería hacer algo en parte como homenaje a Dostoievski y a “Los Demonios” y por otro lado por lo que las ideas expuestas en el libro significaban para él, ya que tuvo directa implicancia en su obra.
En su libro “El mito de Sísifo”, que el autor publicara en 1942, ya incluía un capítulo dedicado a Alexéi Nilich Kirilov, uno de los personajes más particulares de “Los demonios”, en donde se ahondaba en las cuestiones acerca del nihilismo, el suicidio y el absurdo.
Camus escribió una adaptación del libro en una obra de teatro que llegó a tener su representación el 30 de enero de 1959 en el Teatro Antoine de París.
Adjunto un link de youtube en donde Camus habla sobre el nihilismo y su obra: ...
Para dicha adaptación, además de “Los Demonios”, utilizó el texto de “La Confesión de Stavroguin” (cuadro decimocuarto de la obra) y diversos textos que Dostoievski escribió durante la creación de su propio libro.
Leer “Los Poseídos” es tener acceso a una rese?a perfecta del libro original sin perder esta, su brillo propio, ya que todos los hechos más sobresalientes fueron incluidos aunque no todos fueron representados en escena. Tan solo unos pocos de los son transformados en comentarios puesto que no alteran al desarrollo de la obra. Con respecto a los personajes, la gran parte de los que aparecen en el libro estarán presentes en ella.
Me agradó muchísimo volver a encontrarme con todos ellos. Redescubrir los ideales nihilistas de Piotr Stepánovich Verjovenski, por ejemplo, en ese famoso axioma que Dostoievski posteriormente desarrollaría en Iván Karamazov: “Si Dios es una mentira, entonces estamos solos y somos libres. Usted se mata, usted prueba que es libre, y ya no hay Dios. Pero para eso tiene que matarse”.
De hecho, los cuatro demonios más importantes dominan la obra en escena, como dijera anteriormente Piotr Verjovenski, el malvado y contradictorio Nikólai Vsevolódovich Stavroguin, quien es todo un caso aparte, de hecho es parte de un libro paralelo a “Los Demonios” (“La Confesión de Stavroguin"), Alexéi Nilich Kirilov, nihilista y existencialista y también Shátov, el estudiante en constante búsqueda de Dios, este último tiene un especial afecto para mí, puesto que sus ideales son más que puros. Lo veo como una especie de mártir necesario para que los argumentos de ambos libros tengan la coherencia necesaria.
Ninguno de los personajes secundarios (Dasha, Lizaveta, Lebiadkin, Maria Timofeievna, Várvara Stavroguina y Stepan Trofímovich Verjovensky) faltan en la obra.
El caso de Kirilov, que como comentaba, ya había formado parte de una capítulo de su ensayo es llevado a escena pero poniéndole Camus un toque de impronta "mersaultiana" en su carácter nihilista. Kirilov tiene pensado suicidarse en “Los Poseídos” también, pero su estado de ánimo tendrá más desasosiego que el original de “Los Demonios”.
Este es un suicida que siente que no tiene más para dar en la vida. Simplemente demostrar su ateísmo y basar su doctrina nihilista en el suicidio como acto de negación a Dios. Llegando al final de la obra ya nada le importa. Al de Dostoievski, todavía le queda algo de lucha interna. Pero a este Kirilov no, dado que ya selló su destino cuando hablando con el narrador Grigoreiev le dice: “Vivir o morir es indiferente".
He disfrutado mucho nuevamente de un libro de Camus, ya que sigue sorprendiéndome y haciendo crecer en mí la admiración que me genera leer sus libros. Realmente me alegra descubrir que tanto Albert Camus como yo...
?queremos tanto a Dostoievski!
July 19, 2024
That's an adaptation a little dated. Camus is more interested in the suicidal question than in the rejection of Christianity, which fascinated Dostoyevsky and his contemporaries. Camus limited the reference to Russian nationalism and gave more importance to stories of love and couples. He somewhat reduced Stavrogin's violence.
December 5, 2016
???? ?? ???? ?? ?????? ??? ?? ?????? ???? ??? ??????( ??? ??? ??????) ?????? ??? ?? ?????? ??????? ??? ??? ????? ????? ????????? ???? ????? ????????? ?? ???? ???? ?????????? ???? ?? ????? ???? ??? ???? ?? ????????? ???? ????? ?? ????? ? ?? ???? ??? ???? ??? ?????? ????.
?? ??? ??? ????? ????? ?? ??????? ???? ???? ? ????? ?????? ?????? ?????? ?? ???? ??.
?? ??? ??? ????? ????? ?? ??????? ???? ???? ? ????? ?????? ?????? ?????? ?? ???? ??.
July 15, 2024
??? ?????? ???? ?? ??? ???? ????? ???? ?? ??????? ????? ?????????? ?? ????? ???? ?????????? ??? ?? ???? ???? ?? ???? ???? ???? ????. ???? ???????? ?? ?? ??? ???? ???????? ? ???? ????????.
??? ?? ???????? ??????? ? ??????? ?????????? ???. ??????? ? ???? ?????? ?????????? ?? ???????? ?? ?????? ????? ?? ????? ??? ??.
?????????? ?????? ???????????? ?? ???? ???? ?????? (???? ?????????? ?? ????????) ???????????.
???? ?? ???? ?????? ???? ???? ??????? ???? ? ??? ?? ?? ???? ????????? ????? ? ??????? ?? ???? ?? ????? ???? ???? ??? ???? ????? ???? ?????? ? ??? ?????????? ?? ???? ?? ???? ? ?? ???? ?? ?????? ????.
?? ??? ?????? ? ?????? ????????? ?? ???? ????? ?????? ? ??? ????? ???:
??: ????? ????? ??????? ? ???????? ?? ????????? ????? ???? ??? ?? ?????? ?????????? ???? ????? ???? ??????? ?? ?? ???? ?? ?????? ??? ??????? ?? ????? ??????.
??: ????? ???????? ?? ????????? ???????? ??????? ? ????????? ?? ???? ?? ???? ???????? ?? ???? ?????????? ????????? ??????? ? ?????????.
? ???? ?? ???????? ???? ?? ???? ????? ?? ????? ? ????????? ?? ?? ????????? ??? ??????? ?? ??? ???? ???? ? ???? ????????? ????? ???? ????? ??? ?????.
??? ???? ?????? ?????????? ?? ?????? ?????? ??????? ?????? ??? ??? ?? ?????? ???? ? ??? ???? ??? ?????? ????? ??? ??? ??????? ??????? ? ?????? ??? ????????? ?? ???? ?????????? ???? ? ????? ??? ??? ?? ?????? ????.
?.?: ??? ?????? ?? ??? ????????? ?? ???? ????? ???? ?????? ????? ????? ????? ????.
????/??/??
??? ?? ???????? ??????? ? ??????? ?????????? ???. ??????? ? ???? ?????? ?????????? ?? ???????? ?? ?????? ????? ?? ????? ??? ??.
?????????? ?????? ???????????? ?? ???? ???? ?????? (???? ?????????? ?? ????????) ???????????.
???? ?? ???? ?????? ???? ???? ??????? ???? ? ??? ?? ?? ???? ????????? ????? ? ??????? ?? ???? ?? ????? ???? ???? ??? ???? ????? ???? ?????? ? ??? ?????????? ?? ???? ?? ???? ? ?? ???? ?? ?????? ????.
?? ??? ?????? ? ?????? ????????? ?? ???? ????? ?????? ? ??? ????? ???:
??: ????? ????? ??????? ? ???????? ?? ????????? ????? ???? ??? ?? ?????? ?????????? ???? ????? ???? ??????? ?? ?? ???? ?? ?????? ??? ??????? ?? ????? ??????.
??: ????? ???????? ?? ????????? ???????? ??????? ? ????????? ?? ???? ?? ???? ???????? ?? ???? ?????????? ????????? ??????? ? ?????????.
? ???? ?? ???????? ???? ?? ???? ????? ?? ????? ? ????????? ?? ?? ????????? ??? ??????? ?? ??? ???? ???? ? ???? ????????? ????? ???? ????? ??? ?????.
??? ???? ?????? ?????????? ?? ?????? ?????? ??????? ?????? ??? ??? ?? ?????? ???? ? ??? ???? ??? ?????? ????? ??? ??? ??????? ??????? ? ?????? ??? ????????? ?? ???? ?????????? ???? ? ????? ??? ??? ?? ?????? ????.
?.?: ??? ?????? ?? ??? ????????? ?? ???? ????? ???? ?????? ????? ????? ????? ????.
????/??/??
November 27, 2024
???? ???? ? ???????????? ?? ?? ??? ??????????? ??????????? ????.
?????? ?? ?????????? ?????? ?? ?? ??????????? ?????. ?? ???? ?????? ??? ????????? ???? ??????? ???.
?? ???? ???????? ?? ???? 700 ??????? ?????? ?? ?? ????? ??? ????????? ???? ??????? ? ??? ???? ??? ??? ?? ????? ???????.
?? ??? ????? ????? ?? ?????? ??? ??? ???? ????? ???????.
???? ??? ?? ????? ??? ?????????? ??? ???? (??????) ?? ??????.
?????? ?? ?????????? ?????? ?? ?? ??????????? ?????. ?? ???? ?????? ??? ????????? ???? ??????? ???.
?? ???? ???????? ?? ???? 700 ??????? ?????? ?? ?? ????? ??? ????????? ???? ??????? ? ??? ???? ??? ??? ?? ????? ???????.
?? ??? ????? ????? ?? ?????? ??? ??? ???? ????? ???????.
???? ??? ?? ????? ??? ?????????? ??? ???? (??????) ?? ??????.
February 8, 2021
"Δεν θ?λω πια καν?να π?ρε δ?σε μ' αυτ?ν εδ? τον κ?σμο.
?λοι αυτο? ... ξ?ρετε τι εξηγε? το φ?ρσιμ? του?; Το μ?σο?. Ναι. Μισο?ν τη χ?ρα του?. Θα ?ταν οι πρ?τοι που θα ?νιωθαν τρομερ? δυστυχισμ?νοι αν η χ?ρα του? μπορο?σε ξαφνικ? να μεταρρυθμιστε?, αν γιν?ταν εξαιρετικ? πλο?σια και ευτυχισμ?νη. Δε θα ε?χαν πια καν?ναν να φτ?σουν. Εν?, τ?ρα, μπορο?ν να φτ?νουν τη χ?ρα του? και να ε?χονται το κακ? τη?."
?λοι αυτο? ... ξ?ρετε τι εξηγε? το φ?ρσιμ? του?; Το μ?σο?. Ναι. Μισο?ν τη χ?ρα του?. Θα ?ταν οι πρ?τοι που θα ?νιωθαν τρομερ? δυστυχισμ?νοι αν η χ?ρα του? μπορο?σε ξαφνικ? να μεταρρυθμιστε?, αν γιν?ταν εξαιρετικ? πλο?σια και ευτυχισμ?νη. Δε θα ε?χαν πια καν?ναν να φτ?σουν. Εν?, τ?ρα, μπορο?ν να φτ?νουν τη χ?ρα του? και να ε?χονται το κακ? τη?."
October 8, 2020
?? ???? ?? ????? ???????? ? ????? ?? ??? ?? ???? ??? ? ?????? ?? ??? ???? ??????? ?? ????? ??? ????? ???? ? ??????? ???????? ????? ? ??? ? ????? ?? ??????? ? ?????????? ?? ????? ?? ?? ?? ?????????? ???? ???: ???? ?????? ??? ?? ??? ????????.
?? ????????? ???? ??? ????. ???? ?? ??? ?? ?????? ??? ?? ?????? ?? ????? ??????? ?????? ????? ??...
?????? ?????? ?? ???? ???? ????????.
??? ?? ?? ??? ???? ???? ??? "??????? ???? ? ?? ??? ??? ?? ??"? ????????? ????????????? ?? ?????.
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?? ????????? ???? ??? ????. ???? ?? ??? ?? ?????? ??? ?? ?????? ?? ????? ??????? ?????? ????? ??...
?????? ?????? ?? ???? ???? ????????.
??? ?? ?? ??? ???? ???? ??? "??????? ???? ? ?? ??? ??? ?? ??"? ????????? ????????????? ?? ?????.
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March 20, 2019
vent’anni di lavoro e di ostinazione
Chi meglio dello stesso Camus può spiegare quali furono i suoi intenti nella realizzazione di questa trasposizione teatrale?
"I demoni" è una delle quattro o cinque opere che considero una spanna sopra le altre. ? più di un semplice libro, posso dire di essermene nutrito e su questo di essermi formato. La stesura di questo adattamento mi ha portato via vent’anni. La causa non è stata solo la levatura drammatica dei personaggi, ma soprattutto la loro condotta, la loro esplosione e la loro andatura rapida e sconcertante. Dostoevskij, d’altronde, utilizza nei suoi romanzi una tecnica teatrale: procede per dialoghi, con poche descrizioni su ambientazione e movimenti. Così, l’uomo di teatro, che sia l’autore o l’attore, si ritrova già nell’opera le linee guida di cui necessità.
Ecco oggi "I demoni" in scena. Per realizzarla ci sono voluti anni di lavoro e di ostinazione. Perciò so di saper distinguere ciò che differenzia la mia pièce dal prodigioso romanzo originale. Ho semplicemente tentato di seguire il movimento del libro, spostandomi dalla commedia satirica al dramma, e infine alla tragedia. ? vero che per il testo come per lo spettacolo si parte da un certo realismo per finire in una tragedia stilizzata. Per il resto, si è tentato, in mezzo al mondo enorme, trafelato, pieno di rumori e violenza, di non perdere la sofferenza e la tenerezza che rendono l’universo dostoevskiano vicino a ciascuno di noi.
I personaggi di Dostoevskij, sappiamo bene, non sono né strani né assurdi. Ci assomigliano, hanno i nostri stessi sentimenti. "I demoni" è un romanzo profetico non solo perché annuncia il nostro nichilismo, ma anche perché mette in scena anime dilaniate o morenti, incapaci d’amare e sofferenti di non poterlo fare, che vogliono e non possono credere, che sono le stesse che popolano oggi la nostra società e il nostro universo spirituale. Il soggetto di quest’opera è tanto la morte di Satov (ispirata a un episodio vero: l’omicidio dello studente Ivanov per mano del nichilista Necaev) quanto l’avventura spirituale di Stavrogin, eroe contemporaneo. Non è, quindi, solo un capolavoro della letteratura da me trasposto sulla scena, ma è soprattutto un’opera contemporanea.
(Albert Camus)
Quattro stelle e non cinque perché il vero capolavoro è il romanzo di Dostoevskij (e anche perché di Camus ho preferito il ”颁补濒颈驳辞濒补”), ma – come sempre – grande rispetto per il suo lavoro e la sua ostinazione: chapeau.
Chi meglio dello stesso Camus può spiegare quali furono i suoi intenti nella realizzazione di questa trasposizione teatrale?
"I demoni" è una delle quattro o cinque opere che considero una spanna sopra le altre. ? più di un semplice libro, posso dire di essermene nutrito e su questo di essermi formato. La stesura di questo adattamento mi ha portato via vent’anni. La causa non è stata solo la levatura drammatica dei personaggi, ma soprattutto la loro condotta, la loro esplosione e la loro andatura rapida e sconcertante. Dostoevskij, d’altronde, utilizza nei suoi romanzi una tecnica teatrale: procede per dialoghi, con poche descrizioni su ambientazione e movimenti. Così, l’uomo di teatro, che sia l’autore o l’attore, si ritrova già nell’opera le linee guida di cui necessità.
Ecco oggi "I demoni" in scena. Per realizzarla ci sono voluti anni di lavoro e di ostinazione. Perciò so di saper distinguere ciò che differenzia la mia pièce dal prodigioso romanzo originale. Ho semplicemente tentato di seguire il movimento del libro, spostandomi dalla commedia satirica al dramma, e infine alla tragedia. ? vero che per il testo come per lo spettacolo si parte da un certo realismo per finire in una tragedia stilizzata. Per il resto, si è tentato, in mezzo al mondo enorme, trafelato, pieno di rumori e violenza, di non perdere la sofferenza e la tenerezza che rendono l’universo dostoevskiano vicino a ciascuno di noi.
I personaggi di Dostoevskij, sappiamo bene, non sono né strani né assurdi. Ci assomigliano, hanno i nostri stessi sentimenti. "I demoni" è un romanzo profetico non solo perché annuncia il nostro nichilismo, ma anche perché mette in scena anime dilaniate o morenti, incapaci d’amare e sofferenti di non poterlo fare, che vogliono e non possono credere, che sono le stesse che popolano oggi la nostra società e il nostro universo spirituale. Il soggetto di quest’opera è tanto la morte di Satov (ispirata a un episodio vero: l’omicidio dello studente Ivanov per mano del nichilista Necaev) quanto l’avventura spirituale di Stavrogin, eroe contemporaneo. Non è, quindi, solo un capolavoro della letteratura da me trasposto sulla scena, ma è soprattutto un’opera contemporanea.
(Albert Camus)
Quattro stelle e non cinque perché il vero capolavoro è il romanzo di Dostoevskij (e anche perché di Camus ho preferito il ”颁补濒颈驳辞濒补”), ma – come sempre – grande rispetto per il suo lavoro e la sua ostinazione: chapeau.
August 2, 2024
"??? ???? ??? ??????? ?? ???? ?? ?? ??? ????? ??? ??? ??????. ??? ????? ????? ?? ???? ?? ????? ?? ???? ??? ??? ??????. ???? ??????? ?? ??? ??? ???? ???? ?? ???? ???? ????. ??? ?? ??? ???? ???? ??????? ? ?? ??????? ??? ?????."
February 9, 2019
??????? ????? ???? ???! ??? ??? ?? ?????? ?? ?? ???? ????? ? ????. ?? ???? ?? ?????? ? ???? ?????? ????? ? ????? ?? ??? ????. ??? ???? ???? ????? ???? ???? ?? ?????.
July 2, 2018
???? ??? ??? ?? ?? ?????? ?? ??? ?? ?????? ???????? #??????_?????????? ?? ??? #?????? (= #?????????? = #??_????? ) ????? ???.
?????? (?? ????? #????_????? ) ???? ????? ??? ? ???? ?? ??????? ???? ?? ??? ? ???? ??????? ???? ????? ?????? ???? ???? ?? ?? ?? ????????? ? ?? ???? ????? ???? ?????????? ?? ???? ??? ????????? ????? ?????? ?? ??? ??????? ?????? ??? ????????? ?? ??? ? ?????? ???.
???? ??? ??? ?? ?? ??? 1959 ????? ? ???? ??? ?? ?? ???? ????????? ??? ? ?? ??? ?????? ????? ???. ????? ????? ?? 3???? ? ??? ??? ????? ?? 30 ?????? ?? ??? ?? 180 ???? ????? ? ??? ???? 20 ?????? ????? ?????? ????? ????? ????? ????.
???? ???? ?????? ??? ???? ???????: ?????????? ??? ?? ???? ?? ??? ???? ??? ?? ?? ????? ?? ????? ???? ??????? ??????. ?? ?????? ???? ???????? ???? ??? ?? ?? ?? ??? ???? ? ?? ?? ??????? ???? ????. ?? ?? ????? ?????? ???? ??? ???? ?? ???? ???? ????????? ?? ?? ?? ??? ???? ?? ???? ??????????. ??? ????????? ????? ?? ?????? ?? ??????? ????????? ??????????? ?????? ?????? ???? ?? ???????? ? ????????????? ???? ? ???????????? ?????. ????? ?? ???? ?????????? ?? ????????? ?? ????? ?????? ???? ???????: ?? ?? ?????? ??????? ?????? ? ??? ????? ?? ???? ? ??? ?????????. ????? ?????? ?? ?? ??????? ?? ????????? ?? ??????? ?? ????? ?? ?????? ?????????? ???????? ?? ??? ?? ????? ?????????? ???? ???? ???? ?? ???? ???. ?
???????? ?? ???? #????_???? ????? ???? ??? ? ????? #??????_?????? ?? ?????? #???_??? ?? ????????:
#?????????? (1959)? ?????????? ?????? ???? ?? ???? ?????? ?????????? ?? ?? ???? ???? ?? ?????? ????? ?? ?? ?? ?????? ??? ??? ????? ????? ???. ???? ????? ??????? ??????????? ?? ??? ? ??? ?????? ?? ??????? ??????? ? ?????????? ? ????? ???? ????? ????? ?? ???? ?? ????? ??? ?? ?? ?? ???? ???. ??? ???? ?? ?????????? ???? ??? ? ???? ?????? ???? ???? ??? ? ???? ?? ????? ????? ? ??????? ?? ????????? ? ????????????? ????? ?? ????????? ? ??????????????? ?? ?? ????? ????? ?????????? ????? ?? ??????????. ???? ????? ??????? ???? ? ???????? ? ?????? ?????????? ?? ?? ???? ? ???? ??????????? ???? ???? ???. ?????????? ????? ?? ?? ????? ??????? ?? ???? ? ??????? ???? ??????? ?? ??? ? ???? ??? ???? ? ?? ?? ????? ?????? ?????? ???? ?? ????? ????? ?????? ? ????? ?????? ? ?????? ???? ???? ???? ?? #???????? ?? ???????. ?????????? ???? ? ??????????? ????? ??? ?? ????? ???? ????? ???? ? ???? ????? ????? ??? ?? ???? ?? ??? ?????? ??????? ?? ????? ???? ??? ? ?? #???_??? ???? ?????? ??????? ?? ????? ?? ???? ???? ?? ???? ??? ? ????? ???????? ?? ?????? ????? ?? ?? ?????? ?????.
?? ?????????? ?? ?? ?????
?????? (?? ????? #????_????? ) ???? ????? ??? ? ???? ?? ??????? ???? ?? ??? ? ???? ??????? ???? ????? ?????? ???? ???? ?? ?? ?? ????????? ? ?? ???? ????? ???? ?????????? ?? ???? ??? ????????? ????? ?????? ?? ??? ??????? ?????? ??? ????????? ?? ??? ? ?????? ???.
???? ??? ??? ?? ?? ??? 1959 ????? ? ???? ??? ?? ?? ???? ????????? ??? ? ?? ??? ?????? ????? ???. ????? ????? ?? 3???? ? ??? ??? ????? ?? 30 ?????? ?? ??? ?? 180 ???? ????? ? ??? ???? 20 ?????? ????? ?????? ????? ????? ????? ????.
???? ???? ?????? ??? ???? ???????: ?????????? ??? ?? ???? ?? ??? ???? ??? ?? ?? ????? ?? ????? ???? ??????? ??????. ?? ?????? ???? ???????? ???? ??? ?? ?? ?? ??? ???? ? ?? ?? ??????? ???? ????. ?? ?? ????? ?????? ???? ??? ???? ?? ???? ???? ????????? ?? ?? ?? ??? ???? ?? ???? ??????????. ??? ????????? ????? ?? ?????? ?? ??????? ????????? ??????????? ?????? ?????? ???? ?? ???????? ? ????????????? ???? ? ???????????? ?????. ????? ?? ???? ?????????? ?? ????????? ?? ????? ?????? ???? ???????: ?? ?? ?????? ??????? ?????? ? ??? ????? ?? ???? ? ??? ?????????. ????? ?????? ?? ?? ??????? ?? ????????? ?? ??????? ?? ????? ?? ?????? ?????????? ???????? ?? ??? ?? ????? ?????????? ???? ???? ???? ?? ???? ???. ?
???????? ?? ???? #????_???? ????? ???? ??? ? ????? #??????_?????? ?? ?????? #???_??? ?? ????????:
#?????????? (1959)? ?????????? ?????? ???? ?? ???? ?????? ?????????? ?? ?? ???? ???? ?? ?????? ????? ?? ?? ?? ?????? ??? ??? ????? ????? ???. ???? ????? ??????? ??????????? ?? ??? ? ??? ?????? ?? ??????? ??????? ? ?????????? ? ????? ???? ????? ????? ?? ???? ?? ????? ??? ?? ?? ?? ???? ???. ??? ???? ?? ?????????? ???? ??? ? ???? ?????? ???? ???? ??? ? ???? ?? ????? ????? ? ??????? ?? ????????? ? ????????????? ????? ?? ????????? ? ??????????????? ?? ?? ????? ????? ?????????? ????? ?? ??????????. ???? ????? ??????? ???? ? ???????? ? ?????? ?????????? ?? ?? ???? ? ???? ??????????? ???? ???? ???. ?????????? ????? ?? ?? ????? ??????? ?? ???? ? ??????? ???? ??????? ?? ??? ? ???? ??? ???? ? ?? ?? ????? ?????? ?????? ???? ?? ????? ????? ?????? ? ????? ?????? ? ?????? ???? ???? ???? ?? #???????? ?? ???????. ?????????? ???? ? ??????????? ????? ??? ?? ????? ???? ????? ???? ? ???? ????? ????? ??? ?? ???? ?? ??? ?????? ??????? ?? ????? ???? ??? ? ?? #???_??? ???? ?????? ??????? ?? ????? ?? ???? ???? ?? ???? ??? ? ????? ???????? ?? ?????? ????? ?? ?? ?????? ?????.
?? ?????????? ?? ?? ?????
September 14, 2017
-???? ???? ?? ?????? ? ??????? ?? ???? ????.
-?????? ? ??????? ???? ???
-???????. ?????? ?? ... ???? ???? ????. ???? ?????? ???. ????.
--------------------------------
??? ?? ??? ????? ????? ?????? ?? ?? ????? ????? ??? ?? ??? ? ??? ?? ?? ????? ????? ??? ?? ???? ???? ??? ????? ??? ? ???? ?????... ?? ??? ???? ???? ?? ??? ? ???? ???? ?????. ???? ???? ??????? ?? ????? ??. ???? ?? ????? ???? ??? ???? ????. ???? ???? ????? ??? ?? ???? ???? ???? ?????. ???? ?? ???? ???? ???? ???.
--------------------------------
??? ??? ??? ??? ??? ?? ???? ???????? ? ?? ????? ????????. ???? ???? ?? ???? ??? ?? ?????? ??? ?? ?????????? ???? ????? ?? ???? ??? ?? ?? ???? ???????? ???? ?? ??????. ??? ??? ??? ????? ?? ?? ??? ??? ????? ?? ???? ???? ? ???? ????? ???.
--------------------------------
?? ?? ????????? ? ???????? ?? ?????? ?? ?? ????. ?? ??? ??? ???? ?? ?? ?????? ?????. ?? ??? ??? ?? ??? ?? ????? ??? ???? ??? ??? ??? ???? ????. ?? ?? ??? ???? ????? ?? ??? ?? ????? ?? ?? ??????? ??? ??? ??? ?? ????. ??? ?? ?? ???? ??? ????. ?? ?? ???? ?? ???? ????? ?? ?? ???? ???? ?? ????? ?? ???? ???? ?? ?????. ??? ??? ?????? ??.
-?????? ? ??????? ???? ???
-???????. ?????? ?? ... ???? ???? ????. ???? ?????? ???. ????.
--------------------------------
??? ?? ??? ????? ????? ?????? ?? ?? ????? ????? ??? ?? ??? ? ??? ?? ?? ????? ????? ??? ?? ???? ???? ??? ????? ??? ? ???? ?????... ?? ??? ???? ???? ?? ??? ? ???? ???? ?????. ???? ???? ??????? ?? ????? ??. ???? ?? ????? ???? ??? ???? ????. ???? ???? ????? ??? ?? ???? ???? ???? ?????. ???? ?? ???? ???? ???? ???.
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??? ??? ??? ??? ??? ?? ???? ???????? ? ?? ????? ????????. ???? ???? ?? ???? ??? ?? ?????? ??? ?? ?????????? ???? ????? ?? ???? ??? ?? ?? ???? ???????? ???? ?? ??????. ??? ??? ??? ????? ?? ?? ??? ??? ????? ?? ???? ???? ? ???? ????? ???.
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?? ?? ????????? ? ???????? ?? ?????? ?? ?? ????. ?? ??? ??? ???? ?? ?? ?????? ?????. ?? ??? ??? ?? ??? ?? ????? ??? ???? ??? ??? ??? ???? ????. ?? ?? ??? ???? ????? ?? ??? ?? ????? ?? ?? ??????? ??? ??? ??? ?? ????. ??? ?? ?? ???? ??? ????. ?? ?? ???? ?? ???? ????? ?? ?? ???? ???? ?? ????? ?? ???? ???? ?? ?????. ??? ??? ?????? ??.
April 15, 2023
?? ???? ???? ?? ???????? ?????? ??????? ????????? ?????? ????? ? ??? ?????? ???? ?????? ? ?????? ??? ?? ???? ??? ??? ??????? ???????? ??????. ?????????? ????? ????? ?? ???? ? ???? ??????? ?? ?????? ??? ? ??? ????? ?????? ?? ???? ???? ?? ?? ????? ?? ??? ?? ?? ????? ?????? ??? ?? ?? ????? ???? ?????? ?? ?????????? ? ???????? ? ?? ??? ???? ?? ???? ???? ? ???? ??? ????? ??? ???? ??? ???? ?? ????? ?? ?? ????????? ???? ??? ?? ?????? ??? ?????? ???? ?? ?? ??? ???? ??????.
?? ???? ??????? ?????? ??? ????? ?? ?? ??? ?? ??????? ? ?????? ????? ?? ?????? ???? ???.
?? ?????? ???? ????? ?? ? ???? ??? ???? ?? ? ????? ???? ?? ????? ?? ?????? ????? ???? ????? ????? ??? ? ??? ?? ????? ???? ????.
?? ???? ??????? ?????? ??? ????? ?? ?? ??? ?? ??????? ? ?????? ????? ?? ?????? ???? ???.
?? ?????? ???? ????? ?? ? ???? ??? ???? ?? ? ????? ???? ?? ????? ?? ?????? ????? ???? ????? ????? ??? ? ??? ?? ????? ???? ????.
July 30, 2023
?????????? "??????????" ???? ???? ??? ??????? ?? ???? ?????????? ???????????. ?? ??? ???? ?? ?????? ? ??? ???????? ?? ???? ???????? ??? ?? ??. ??? ????? ???? ?????????? ????? ????? ?? ???? ???? ?????? ????? ????? ??????? ? ????? ??? ?????. ??? ?? ???? ???? ?? ???? ?? ?? ??? ?????????? ???????.
????? ?? ?? ???? ?????????????? ???? (??? ???????? ? ????????) ?????? ?? ?????????? ??? ????? ??? ??? ?????????? ?? ?? ???? ??????? ??????? ? ???????? ? ??????? ? ????????? ????? ? ???? ??? ????.
????? ?? ?? ???? ?????????????? ???? (??? ???????? ? ????????) ?????? ?? ?????????? ??? ????? ??? ??? ?????????? ?? ?? ???? ??????? ??????? ? ???????? ? ??????? ? ????????? ????? ? ???? ??? ????.
August 30, 2020
???? ??? ???? ?????????? ?? ?? ????????? ????? ?????? ?? ??? ???? ??? ??? ?? ????????? ? ??? ???? ????!
October 22, 2021
?????? ????? ?: ?? ???? ?????? ?? ?????????? ????? ?????????? ?? ??????.
?????? ????? ?: ?? ???? ?? ?????????? ????? ??????.
?????: ?? ???? ?? ??? ???? ????? ?? ???? ??????? ?? ?? ??? ????? ??? ??? ???? ?? ????? ?? ?????????? ???? ??????? ?? ????? ?????? ?? ??? ???? ?????.
?? ??? ???? ?? ???????? ??????????? ?? ??? ??? ??? ??????? ???? ??????? ???? ???? ??? ????? ???? ? ?????????. ?? ???? ??? ???? ?????????? ????? ???????? ??? ???? ???????? ??? ?????? ???????? ?? ?? ???? ???????? ?????? ? ??? ??? ??????? ?? ?? ?????????? ?? ?? ? ?? ???? ???.
?? ??? ????? ???? ?? ???? ?????????? ????????????? ???? ???? ???? ????????? ??????????? ?????????? ?? ???? ?????? ?????? ???? ? ?? ???? ??? ????????? ???? ?? ?? ????? ???? ?? ?????? ???? ?????????? ???????.
????? ?? ???? ????? ?????? ??? ??? ?????????? ?????? ???: ????? ??????? ?? ???? ????? ?? ??????? ????. ?? ?? ?????? ??? ???? ??? ? ??????. ??????? ??? ? ?????.
???? ????? ? ??????? ????? ?? ???? ?? ????? ????? ????????? ??? ?? ??????? ????? ???? ????? ?? ??? ????? ???? ?? ???? ?????? ?????? ? ???? ????? ?? ??? ?? ??? ??????? ?? ????? ????? ?????? ? ???? ?? ??????.
?????? ?? ??? ???? ????? ???? ?? ?????? ????? !! ?? ??? ??? ???? ????? ????? ? ?????? ?? ????? ????? ??? ?? ???? ?????? ? ?? ???? ???? ?? ???? ???? ????? ? ???? ???? ?? ???? ????? ?????? ??????? ?? ???? ?????? ? ???? ??? ??? ?????? ????? ?? ??????? ??? ?? ??? ????? (????? ??? ??????? ?? ???? ??? ???? ????) ?????? ???? ?? ????????? ? ??? ?? ???? ???????? ????? ????.
??? ????? ???? ???????? ???? ?? ?? ????? ????? ??? ?? ??????? ?? ?? ??????? ????? ???? ?????????? ??? ?????? ? ??? ???? ??? ??? ????? ???? ???? ????????? ?? ??? ????? ? ????? ??? ??? ?????? ????? ???? ????? ????? ????? ?????.
?? ????? ?? ?? ????? ??? ????????? ??? ???? (???? ??? ?????? ?? ???? ??? ?????? ???? ???? ???????) ? ?? ?? ????? ???? ??? ?????:
?? ????? ?????? ??? ?????????? ?? ????? ??? ???? ?? ????? ??????? ???? ?? ???????? ???? ??? ??????. ?????? ?????? ?????????? !!
?????? ????? ?: ?? ???? ?? ?????????? ????? ??????.
?????: ?? ???? ?? ??? ???? ????? ?? ???? ??????? ?? ?? ??? ????? ??? ??? ???? ?? ????? ?? ?????????? ???? ??????? ?? ????? ?????? ?? ??? ???? ?????.
?? ??? ???? ?? ???????? ??????????? ?? ??? ??? ??? ??????? ???? ??????? ???? ???? ??? ????? ???? ? ?????????. ?? ???? ??? ???? ?????????? ????? ???????? ??? ???? ???????? ??? ?????? ???????? ?? ?? ???? ???????? ?????? ? ??? ??? ??????? ?? ?? ?????????? ?? ?? ? ?? ???? ???.
?? ??? ????? ???? ?? ???? ?????????? ????????????? ???? ???? ???? ????????? ??????????? ?????????? ?? ???? ?????? ?????? ???? ? ?? ???? ??? ????????? ???? ?? ?? ????? ???? ?? ?????? ???? ?????????? ???????.
????? ?? ???? ????? ?????? ??? ??? ?????????? ?????? ???: ????? ??????? ?? ???? ????? ?? ??????? ????. ?? ?? ?????? ??? ???? ??? ? ??????. ??????? ??? ? ?????.
???? ????? ? ??????? ????? ?? ???? ?? ????? ????? ????????? ??? ?? ??????? ????? ???? ????? ?? ??? ????? ???? ?? ???? ?????? ?????? ? ???? ????? ?? ??? ?? ??? ??????? ?? ????? ????? ?????? ? ???? ?? ??????.
?????? ?? ??? ???? ????? ???? ?? ?????? ????? !! ?? ??? ??? ???? ????? ????? ? ?????? ?? ????? ????? ??? ?? ???? ?????? ? ?? ???? ???? ?? ???? ???? ????? ? ???? ???? ?? ???? ????? ?????? ??????? ?? ???? ?????? ? ???? ??? ??? ?????? ????? ?? ??????? ??? ?? ??? ????? (????? ??? ??????? ?? ???? ??? ???? ????) ?????? ???? ?? ????????? ? ??? ?? ???? ???????? ????? ????.
??? ????? ???? ???????? ???? ?? ?? ????? ????? ??? ?? ??????? ?? ?? ??????? ????? ???? ?????????? ??? ?????? ? ??? ???? ??? ??? ????? ???? ???? ????????? ?? ??? ????? ? ????? ??? ??? ?????? ????? ???? ????? ????? ????? ?????.
?? ????? ?? ?? ????? ??? ????????? ??? ???? (???? ??? ?????? ?? ???? ??? ?????? ???? ???? ???????) ? ?? ?? ????? ???? ??? ?????:
?? ????? ?????? ??? ?????????? ?? ????? ??? ???? ?? ????? ??????? ???? ?? ???????? ???? ??? ??????. ?????? ?????? ?????????? !!
August 11, 2018
"???? ???? ?? ?? ??? ??????? ??? ????? ????? ????? ?? ????? ???? ?? ?? ????? ?? ?? ?????. ??? ???? ????? ????? ?? ?????? ?? ??? ?? ??? ?????? ?? ????? ?????. ?? ?????? ?? ?? ???? ???????? ? ?? ?? ?? ?? ????? ?? ??? ???? ????? ?? ???? ???? ????? ???? ? ??????? ????. ???? ???? ???? ?? ??? ?????? ?????. ? ?? ?? ????? ??? ?? ?????? ? ???? ??? ???? ????? ?? ?????? ?? ????? ??? ? ??? ??? ?????? ?????."
August 4, 2015
Why does everybody expect of me what no one expects of anyone else ? Why must I endure what no one endures and accept burdens that no one could carry?
August 9, 2022
???? ?? ???????? ?? ???? ??????? ?? ?????? ?? ???????? ?????? ???? ????? ?????? ???? ?? ???????? ?????.?
December 30, 2019
It's an unorthodox work by Camus; not a story of his own after all, but one of Fyodor Dostoevsky's which he is adapting to the stage. Camus is strong when writing theater --for proof of that, see his 'Caligula' --but in this case I must question both the source material and his technique. Even to my casual glance, both areas immediately falter as I flip these pages. What is the story about? A rather trite and old-fashioned standard in (usually, bad) literature; the domestic 'comedy-of-errors'. Is this really Dostoevsky? Where are the grand, dramatic themes? Where is the sweeping, searing conflict between 'man' and 'state'?
What we have here instead: an aging college professor resides as a private tutor to a rebellious young boy in the house of a well-to-do widow. He has nursed a secret love for the widow for twenty years, "but has never breathed a word of it to anyone". Right, sure, okay. But in Act I of this play, he suddenly blurts out this secret. The blithely unsuspecting widow, meanwhile, intends him as a suitor for the daughter of her oldest-and-dearest-friend. Tiresome, hammy horseplay; the same color which gallops through countless other second-rate comedies. All due to two characters inexplicably failing to speak their feelings openly.
There are two (or three) fair young maids (or maidens) in the play, interchangeable so far. I can't yet determine if the oldest-and-dearest friend's daughter might be the same as a 'mysterious crippled girl assisted in the street by a stranger a few years ago' (this is the first characteristic 'Dostoevsky touch' in the play, this exotic clue).
Nevertheless, it all starts out rather like watered-down Moliere' except there's a large jumble of similar-sounding Russkie names to keep track of (headache-inducing) and shockingly bad 'speech-making'. It's the worst blunder yet. Two characters meet for the first time and since one of them is a nihilist he immediately launches into a convoluted 'dissection of God's existence' instead of speaking normally and naturally.
There's also awkwardly-contrived inventions such as 'secret love letters diverted' and the usual 'old family retainer' who 'remembers an incident when the lad was a boy'. Groan!
No, no, no. Of all the most unlikely authors to try their hand at comedy ...what is this doom-and-gloom duo doing? This is starting off very badly. Unless Camus repairs the damage done so far, I'll be compelled to rank this work very low in the bibliography of both men. I expected great things from the melding of these two minds but so far I'm mildly appalled. This is page after page of jabberwocky. Where is 'The Underground Man' or 'The Outside Man' in all this comedy-romantic brouhaha? That's what I'm hankering for.
Update: as the play concludes, I can see how it does, in fact, pay faith to Camus' outline, as hinted at in his preface. 'Possessed' begins as a comedy, yep --I grant this. But it's an incredibly frustrating, 'low' comedy. It's beyond me why it should begin this way. Act II does turn dramatic (all the unwitting lovers eventually turn on each other) and the finale does present sharp-edged social observation. But --if I hadn't assisted myself with some sources of reference/commentary --it all might've been lost on me.
Indeed, there is present-at-hand, a commendable aspect to Dostoevsky's original idea (drawn from New Testament), about how a crowd can fall into confusion when a man indemnified as a scapegoat doesn't automatically behave as a scapegoat. It's a noble theme, and this rescinding of external labels is likely why Camus got involved.
But the whole project is sorely in need of revision. Even allowing for the passage of time, it's hard to adjust to characters who leap to 'duel each other with pistols' after a youth 'mockingly slaps his elder in the face'; or self-abasing characters who confess themselves in 'intellectual servitude' to one other; helplessly struggling and in thrall until a merciful word or gesture is dispensed by the 'rebellious firebrand' they so thoroughly adore.
This last complaint may lie with myself as a contemporary reader, however. Today we inhabit a glib, thin, fast-paced, and thoughtless sphere. There's no self-examination behind our speed-of-light modern chatter and gossip. Even for me (notorious late-adopter) it's increasingly difficult to relate to fiction where characters 'long', 'pine', 'yearn', 'brood', or doubt their own social positions. But such are the characters in 'The Possessed'.
These townspeople of Dostoevsky are bewildered towards the depths of their own natures. We don't see that anymore in our supremely self-assured society, do we? Not now, when everyone has a transparent footprint, an identity, a signature-on-file, a numeric address. And how long has it been since any of us believed in "the individual" ...being able to "make a difference in the world"? Dosteovsky's characters succumb to this naivete, but can we?
Oh well. I'd like to give this play a re-read sometime, now that I know where the pitfalls lie. It's a mixed bag at first go; but might improve upon a re-read.
What we have here instead: an aging college professor resides as a private tutor to a rebellious young boy in the house of a well-to-do widow. He has nursed a secret love for the widow for twenty years, "but has never breathed a word of it to anyone". Right, sure, okay. But in Act I of this play, he suddenly blurts out this secret. The blithely unsuspecting widow, meanwhile, intends him as a suitor for the daughter of her oldest-and-dearest-friend. Tiresome, hammy horseplay; the same color which gallops through countless other second-rate comedies. All due to two characters inexplicably failing to speak their feelings openly.
There are two (or three) fair young maids (or maidens) in the play, interchangeable so far. I can't yet determine if the oldest-and-dearest friend's daughter might be the same as a 'mysterious crippled girl assisted in the street by a stranger a few years ago' (this is the first characteristic 'Dostoevsky touch' in the play, this exotic clue).
Nevertheless, it all starts out rather like watered-down Moliere' except there's a large jumble of similar-sounding Russkie names to keep track of (headache-inducing) and shockingly bad 'speech-making'. It's the worst blunder yet. Two characters meet for the first time and since one of them is a nihilist he immediately launches into a convoluted 'dissection of God's existence' instead of speaking normally and naturally.
There's also awkwardly-contrived inventions such as 'secret love letters diverted' and the usual 'old family retainer' who 'remembers an incident when the lad was a boy'. Groan!
No, no, no. Of all the most unlikely authors to try their hand at comedy ...what is this doom-and-gloom duo doing? This is starting off very badly. Unless Camus repairs the damage done so far, I'll be compelled to rank this work very low in the bibliography of both men. I expected great things from the melding of these two minds but so far I'm mildly appalled. This is page after page of jabberwocky. Where is 'The Underground Man' or 'The Outside Man' in all this comedy-romantic brouhaha? That's what I'm hankering for.
Update: as the play concludes, I can see how it does, in fact, pay faith to Camus' outline, as hinted at in his preface. 'Possessed' begins as a comedy, yep --I grant this. But it's an incredibly frustrating, 'low' comedy. It's beyond me why it should begin this way. Act II does turn dramatic (all the unwitting lovers eventually turn on each other) and the finale does present sharp-edged social observation. But --if I hadn't assisted myself with some sources of reference/commentary --it all might've been lost on me.
Indeed, there is present-at-hand, a commendable aspect to Dostoevsky's original idea (drawn from New Testament), about how a crowd can fall into confusion when a man indemnified as a scapegoat doesn't automatically behave as a scapegoat. It's a noble theme, and this rescinding of external labels is likely why Camus got involved.
But the whole project is sorely in need of revision. Even allowing for the passage of time, it's hard to adjust to characters who leap to 'duel each other with pistols' after a youth 'mockingly slaps his elder in the face'; or self-abasing characters who confess themselves in 'intellectual servitude' to one other; helplessly struggling and in thrall until a merciful word or gesture is dispensed by the 'rebellious firebrand' they so thoroughly adore.
This last complaint may lie with myself as a contemporary reader, however. Today we inhabit a glib, thin, fast-paced, and thoughtless sphere. There's no self-examination behind our speed-of-light modern chatter and gossip. Even for me (notorious late-adopter) it's increasingly difficult to relate to fiction where characters 'long', 'pine', 'yearn', 'brood', or doubt their own social positions. But such are the characters in 'The Possessed'.
These townspeople of Dostoevsky are bewildered towards the depths of their own natures. We don't see that anymore in our supremely self-assured society, do we? Not now, when everyone has a transparent footprint, an identity, a signature-on-file, a numeric address. And how long has it been since any of us believed in "the individual" ...being able to "make a difference in the world"? Dosteovsky's characters succumb to this naivete, but can we?
Oh well. I'd like to give this play a re-read sometime, now that I know where the pitfalls lie. It's a mixed bag at first go; but might improve upon a re-read.
November 27, 2024
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August 19, 2023
"The Possessed" ?? ????????? ??????? ??? ?? ???? ???? ???? ????? ??? ???. ?? ?? ??? ???? ???? ????? ??? ????????? ?? ????? ??????? ?? ????? ?????? ???? ? ???????? ?? ??????? ??? ?????? ?????? ?? ??????.
?????? ??? ???? ????? ?? ????????? ??? ?? ?? ???? ????? ???????? ?????? ?????. ?? ????? ???? ????? ??? ???? ???? ??? ????? ??? ??????? ????? ?? ?????? ???? ? ????? ???? ?? ???? ????????? ??? ??????? ??? ??????. ?? ??? ???? ??????? ?? ?????? ??? ?? ???? ??? ???? ???? ??? ???? ?? ????? ???? ?? ?? ????? ? ???????? ???? ??? ???.
???? ?? ???? ????? ??? ?????? ????? ? ?????? ?????? ????? ?? ?? ?? ????? ?? ???. ?? ????? ??????? ?? ???? ????? ?? ????? ????? ??? ?? ???? ?? ???? ?????? ? ?????? ?? ???. ????????? ?? ??? ??? ????? ??? ????? ?? ???? ?? ??? ? ?? ????? ?????? ??? ??? ?? ? ??????? ???? ?? ??????.
??? ?? ???? ??? ???? "The Possessed" ????? ????? ?????? ??? ? ????? ??????? ???. ???? ?????? ???? ?? ???? ???????? ???????? ?? ????? ? ?????? ???? ?? ????? ????? ???? ?? ???. ??? ????????? ?? ????? ?? ?????? ??????? ??? ?? ??? ? ?? ?? ?? ????? ???? ??????? ? ????? ???? ??????? ?? ???.
??? ?????? ???? ???? ? ???? ????? ???. ??????? ?? ?? ?????? ? ??????? ??? ?? ?? ?????? ?? ???? ? ?? ????????? ????? ?? ??? ?? ????????? ?? ??? ??? ??????? ?? ?????? ?????. ???? ??? ? ????? ????? ??? ?? ?? ??? ???? ????? ??? ????? ????? ??? ???? ????? ?? ?? ????? ?? ???.
?? ??? ???? "The Possessed" ?? ????????? ??????? ??? ?? ???? ??? ????? ?????? ????? ????? ? ????? ????? ?????????? ????? ?? ???. ????? ???? ?? ??? ??????? ?? ?? ?? ?? ???? ???? ?? ???? ????? ???? ??? ?? ?????? ?? ??????? ?????? ?? ?????? ???. ?????? ?? ????? ??? ?? ????? ????? ????? ?? ??? ?? ????????? ??? ????? ????? ??? ?? ????? "The Possessed" ????? ????? ???????? ???.
?????? ??? ???? ????? ?? ????????? ??? ?? ?? ???? ????? ???????? ?????? ?????. ?? ????? ???? ????? ??? ???? ???? ??? ????? ??? ??????? ????? ?? ?????? ???? ? ????? ???? ?? ???? ????????? ??? ??????? ??? ??????. ?? ??? ???? ??????? ?? ?????? ??? ?? ???? ??? ???? ???? ??? ???? ?? ????? ???? ?? ?? ????? ? ???????? ???? ??? ???.
???? ?? ???? ????? ??? ?????? ????? ? ?????? ?????? ????? ?? ?? ?? ????? ?? ???. ?? ????? ??????? ?? ???? ????? ?? ????? ????? ??? ?? ???? ?? ???? ?????? ? ?????? ?? ???. ????????? ?? ??? ??? ????? ??? ????? ?? ???? ?? ??? ? ?? ????? ?????? ??? ??? ?? ? ??????? ???? ?? ??????.
??? ?? ???? ??? ???? "The Possessed" ????? ????? ?????? ??? ? ????? ??????? ???. ???? ?????? ???? ?? ???? ???????? ???????? ?? ????? ? ?????? ???? ?? ????? ????? ???? ?? ???. ??? ????????? ?? ????? ?? ?????? ??????? ??? ?? ??? ? ?? ?? ?? ????? ???? ??????? ? ????? ???? ??????? ?? ???.
??? ?????? ???? ???? ? ???? ????? ???. ??????? ?? ?? ?????? ? ??????? ??? ?? ?? ?????? ?? ???? ? ?? ????????? ????? ?? ??? ?? ????????? ?? ??? ??? ??????? ?? ?????? ?????. ???? ??? ? ????? ????? ??? ?? ?? ??? ???? ????? ??? ????? ????? ??? ???? ????? ?? ?? ????? ?? ???.
?? ??? ???? "The Possessed" ?? ????????? ??????? ??? ?? ???? ??? ????? ?????? ????? ????? ? ????? ????? ?????????? ????? ?? ???. ????? ???? ?? ??? ??????? ?? ?? ?? ?? ???? ???? ?? ???? ????? ???? ??? ?? ?????? ?? ??????? ?????? ?? ?????? ???. ?????? ?? ????? ??? ?? ????? ????? ????? ?? ??? ?? ????????? ??? ????? ????? ??? ?? ????? "The Possessed" ????? ????? ???????? ???.
September 25, 2016
???? ?? ???? ?? ???? ??? ? ????? ?????? ????? ??????? ???? ?? ?? ???? ????????? ?? ?? ????? ????? ?? ?? ???? ???? ??? ?????? ? ??? ?? ???? ?? ??? ???? ???? ??? ???? ???? ????? ????? ???.
????? ???? ??? ?? ???? ?? ??? ?? ???? ???????? ?????? ????? ????? ?????? ?? ??! ? ???? ?????? ??????? ? ?????????? ? ????? ??????? ???? ?? ????? ??? ????? ?? ??????? ?? ?? ???? ?? "???" ???!
????? ???? ??? ?? ???? ?? ??? ?? ???? ???????? ?????? ????? ????? ?????? ?? ??! ? ???? ?????? ??????? ? ?????????? ? ????? ??????? ???? ?? ????? ??? ????? ?? ??????? ?? ?? ???? ?? "???" ???!
April 26, 2019
"???? ??? ???? ?? ???? ?? ???? ????.?????? ????????? ???? ????.???? ???? ?? ???? ???? ???? ???? ?? ????? ????.??? ???? ??? ???? ?? ????? ??? ? ?? ???? ??? ???? ???? ????? ????."
April 20, 2021
???? ?? ????? ???? ??? ?? ???? ??????????? ?? ????????? ????? ?? ??? ????? ??? ?? ??? ?? ??? ????? ????? ????? ????? ??????. ????? ?? ??????????? ?? ????? ?? ?????? ??? ???? ? ?????? ??????? ??????? ??? ??? ????? ???? ?????? ?? ???? ?? ??????? ????????? ???? ?????? ??? ???? ???? ?? ?? ??????.
March 3, 2021
????? ?? ?? ?? ????? ??????????
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June 11, 2022
??? ???? ?? ?? ????? ??? ????? ??? ????????? ?????? ??? ?? ?? ?????? ???? ????? ?? ???? ??????????? ?? ???? ??? ?????? ???? ? ?? ????????? ????? ? ?? ????????? ??? ?????? ??! ?????? ????? ? ??????? ???. ???? ? ???? ??? ???? ?? ??????. ??? ???? ?????? ????? ???? ?? ????? ????.
July 30, 2020
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March 17, 2020
???? ??? ??? ?????? ???.???? ???? ????? ?????? ????? ? ??????? ???? ?? ????? ????.???? ???? ???? ???? ???? ?????. ???? ????? ?? ?? ?????? ? ?? ?? ????? ????? ? ???? ?? ???? ?? ???? ?????? ???? ???? ????? ? ??????? ????? ????? ??????.?? ????? ????? ????? ???? ?????.?? ????????? ????? ??? ??????? ? ???? ??? ??? ??.
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March 21, 2024
?????? ???? ????? ?? ???? ??????? ??? ???? fight club ?? ???????? ??
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?? ?? ????? ???? ?? ??? On this nomination ????
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