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丿賮鬲乇 禺丕胤乇丕鬲 丌賳丿乇蹖 鬲丕乇讴賵賮爻讴蹖
鈥淭arkovsky for me is the greatest,鈥� wrote Ingmar Bergman. Andrey Tarkovsky only made seven films, but all are celebrated for its striking visual images, quietly patient dramatic structures, and visionary symbolism.
Time within Time is both a diary and a notebook, maintained by Tarkovsky from 1970 until his death. Intense and intimate, it offers reflections on Dostoyevsky, Tolstoy, Hermann Hesse, Thomas Mann, and others. He writes movingly of his family, especially his father, Arseniy Tarkovsky, whose poems appear in his films. He records haunting dreams in detail and speaks of the state of society and the future of art, noting significant world events and purely personal dramas along with fascinating accounts of his own filmmaking. Rounding out this volume are Tarkovsky鈥檚 plans and notes for his stage version of Hamlet; a detailed proposal for a film adaptation of Dostoyevsky鈥檚 The Idiot; and a glimpse of the more public Tarkovsky answering questions put to him by interviewers.
Time within Time is both a diary and a notebook, maintained by Tarkovsky from 1970 until his death. Intense and intimate, it offers reflections on Dostoyevsky, Tolstoy, Hermann Hesse, Thomas Mann, and others. He writes movingly of his family, especially his father, Arseniy Tarkovsky, whose poems appear in his films. He records haunting dreams in detail and speaks of the state of society and the future of art, noting significant world events and purely personal dramas along with fascinating accounts of his own filmmaking. Rounding out this volume are Tarkovsky鈥檚 plans and notes for his stage version of Hamlet; a detailed proposal for a film adaptation of Dostoyevsky鈥檚 The Idiot; and a glimpse of the more public Tarkovsky answering questions put to him by interviewers.
702 pages, Hardcover
First published January 1, 1989
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October 4, 2023
"Cinema, true cinema, would be the unique means of influencing the transformation of the human race and therefore the most effective medium for saving the world. Andrei Tarkovsky made seven complete films and left one unfinished."
In: Andrei Tarkovsky: a Life on the Cross, by Lyudmila Boyadzheva
How could one possibly organize such a dispersed collection of thoughts, impressions, reflections, feelings and sensations, from a talented film director?
Evidently philosophical, at times religious, profoundly Russian, a man writes about an intimacy with his own soul. Again, my favorite film director.
He was European in the greatest sense of the word. He was cultured in European matters, be it art, literature or music...; yet he loved his nation, Russia. Things didn鈥檛 work out well for Tarkovsky and exile made him die away from his motherland.
Ahead are some lines of a possible organization of a book which is Diary, though with some interruptions. The last part of the book includes interviews on some of his movies (Solaris, Mirror) and Cinema 1966; also, some reflections on The Idiot by Dostoyevsky and Hamlet by Shakespeare.
Preferences & Peculiarities
In 1974 Tarkovsky preferred green color; St John鈥檚 Passion by S. Bach and Pushkin, as his beloved poet; Bresson for foreign-film director.
(1986) "Yesterday I went for a walk and was suddenly overcome with an inexplicable urge: I took my shoes off and walked barefoot on the cold earth鈥�.
Dream
1984 "Last night I had a terribly sad dream . I dreamed again of a Northern (I think) lake somewhere in Russia; it was dawn , and on the far shore were two Orthodox monasteries , with amazingly beautiful cathedrals and walls and I felt such sadness! such pain!"
Time
(1972) "For many years I have been tormented by the certainty that the most extraordinary discoveries await in the sphere of time鈥�.
鈥淭he one important thing is to find time within time; it is enormously difficult, but it has to be done鈥�.
Faith
(8th January, 1980) "I believe oh Lord and profess that Thou art truly the Christ, Son of the living God "(Prayer before Holy Communion)
Poetry
(27th April Rome)鈥漈rue poetry goes with a sense of religion. An unbeliever cannot be a poet鈥�.
(24th January, 1980) "Poets are above other people because they understand about people"
Society and the individual
Chinese proverb: 鈥渁 great man is a disaster to society鈥�.
(23rd June 1977; Tallinin ) 鈥淥ur lives are all wrong. A person has no need of society; it is society that needs him鈥�
America
(24th Dec 1970) "Have been reading about the Kennedy assassination, of course, they were pretty slack over Oswald, but all the same the way the whole thing was handled is very impressive, compared with the American leaders, our lot are cretins"
Filming
(30th April,1970, Moscow) "Now Solaris. For the moment progress is agonizingly slow, because things at Mosfilm have reached crisis point"
鈥淩ublev is being shown in Sweden. According to Bibi Andersen, Bergman called Rublev the best film he has ever seen. I must make a film called Thomas Mann鈥�
Cities
(22nd July, 1979; Ostini, Incanto hotel, Italy) "This morning we went to Lecce and Otranto. The baroque of Lecce!"
(8/9th March, Stockholm) "Berlin has an appalling effect on me. It鈥檚 a terrifying city鈥�.
Life and the Motherland
[in 1982 Tarkovsky went into exile]
(1983) 鈥淎 bad day鈥鈥檓 lost! I cannot live in Russia nor can I live here鈥�.
(15th December 1986, Paris) 鈥淗amlet鈥n bed all day didn鈥檛 get up. Pain in the lower stomach and the back鈥�
--
Tarkovsky died of cancer on the 29th of December 1986. He 鈥渞ests鈥� in France. We were in the early days of Perestroika.
Some of his movies, ahead.
(The Killers)
(Rublev)
(Stalker)
(Solaris)
(Mirror)
(Nostalghia)
(Sacrifice)
UPDATE
Tarkovsky viewed by his son:
In: Andrei Tarkovsky: a Life on the Cross, by Lyudmila Boyadzheva
How could one possibly organize such a dispersed collection of thoughts, impressions, reflections, feelings and sensations, from a talented film director?
Evidently philosophical, at times religious, profoundly Russian, a man writes about an intimacy with his own soul. Again, my favorite film director.
He was European in the greatest sense of the word. He was cultured in European matters, be it art, literature or music...; yet he loved his nation, Russia. Things didn鈥檛 work out well for Tarkovsky and exile made him die away from his motherland.
Ahead are some lines of a possible organization of a book which is Diary, though with some interruptions. The last part of the book includes interviews on some of his movies (Solaris, Mirror) and Cinema 1966; also, some reflections on The Idiot by Dostoyevsky and Hamlet by Shakespeare.
Preferences & Peculiarities
In 1974 Tarkovsky preferred green color; St John鈥檚 Passion by S. Bach and Pushkin, as his beloved poet; Bresson for foreign-film director.
(1986) "Yesterday I went for a walk and was suddenly overcome with an inexplicable urge: I took my shoes off and walked barefoot on the cold earth鈥�.
Dream
1984 "Last night I had a terribly sad dream . I dreamed again of a Northern (I think) lake somewhere in Russia; it was dawn , and on the far shore were two Orthodox monasteries , with amazingly beautiful cathedrals and walls and I felt such sadness! such pain!"
Time
(1972) "For many years I have been tormented by the certainty that the most extraordinary discoveries await in the sphere of time鈥�.
鈥淭he one important thing is to find time within time; it is enormously difficult, but it has to be done鈥�.
Faith
(8th January, 1980) "I believe oh Lord and profess that Thou art truly the Christ, Son of the living God "(Prayer before Holy Communion)
Poetry
(27th April Rome)鈥漈rue poetry goes with a sense of religion. An unbeliever cannot be a poet鈥�.
(24th January, 1980) "Poets are above other people because they understand about people"
Society and the individual
Chinese proverb: 鈥渁 great man is a disaster to society鈥�.
(23rd June 1977; Tallinin ) 鈥淥ur lives are all wrong. A person has no need of society; it is society that needs him鈥�
America
(24th Dec 1970) "Have been reading about the Kennedy assassination, of course, they were pretty slack over Oswald, but all the same the way the whole thing was handled is very impressive, compared with the American leaders, our lot are cretins"
Filming
(30th April,1970, Moscow) "Now Solaris. For the moment progress is agonizingly slow, because things at Mosfilm have reached crisis point"
鈥淩ublev is being shown in Sweden. According to Bibi Andersen, Bergman called Rublev the best film he has ever seen. I must make a film called Thomas Mann鈥�
Cities
(22nd July, 1979; Ostini, Incanto hotel, Italy) "This morning we went to Lecce and Otranto. The baroque of Lecce!"
(8/9th March, Stockholm) "Berlin has an appalling effect on me. It鈥檚 a terrifying city鈥�.
Life and the Motherland
[in 1982 Tarkovsky went into exile]
(1983) 鈥淎 bad day鈥鈥檓 lost! I cannot live in Russia nor can I live here鈥�.
(15th December 1986, Paris) 鈥淗amlet鈥n bed all day didn鈥檛 get up. Pain in the lower stomach and the back鈥�
--
Tarkovsky died of cancer on the 29th of December 1986. He 鈥渞ests鈥� in France. We were in the early days of Perestroika.
Some of his movies, ahead.
(The Killers)
(Rublev)
(Stalker)
(Solaris)
(Mirror)
(Nostalghia)
(Sacrifice)
UPDATE
Tarkovsky viewed by his son:
Read
January 28, 2022Svakako ovo ne膰u celo pro膷itati jer a) ne 啪elim i b) ne treba, nije lepo prema 膷oveku.
Na do啪ivljaj ovih dnevnika presudno je uticalo to 拧to volim filmove Tarkovskog ali prema njemu nemam taj idolopokloni膷ki odnos koji zbog ne膷ega na拧i filmofili 膷esto neguju. Od po膷etka nisam imala neku idealnu predstavu o njemu a onda sam svejedno po膷ela da nailazim na neke zapise nad kojima nisam znala da li bih se pre smejala ili plakala. Tipa "Eh, da 啪ivim na Zapadu. Snimao bih film godi拧nje i bio bih milioner!" Bilo kome upoznatom s realno拧膰u snimanja filma na Zapadu (kao 拧to se koju godinu kasnije i sam Tarkovski uverio) jasno je da to nema veze sa 啪ivotom.
A Tarkovski se ina膷e ba拧 mnogo mu膷io i cela ova knjiga je jedno veliko neprekidno gr膷enje oko para (sa tabelicama o tome koliko je od koga pozajmio, tragi膷ne neke svote od vrlo malih do ozbiljnih), oko u啪asa svakodnevice u SSSR-u, o膷ajni膷ko batrganje da se ode iz zemlje i potom izvede i porodica, neopisane muke sa snimanjem filmova, sa saradnicima, sa ljudima, sa 啪enama... e ne, sa 啪enama slabo. Imam sna啪an i mo啪da neopravdan utisak (膽avola neopravdan) da je umetnikova udovica strogo prosejala ove dnevnike.
Ono 拧to je ostalo manje je nalik tekstovima koje je Tarkovski pisao za javnost i o filmskoj umetnosti, a vi拧e hejt na拧 svagdanji i davanje odu拧ka kroz dnevnik. Kumulativno, to ostavlja neprijatan i sve neprijatniji utisak kako 膷itanje odmi膷e. Glumci su glupi, "nikad nisam upoznao pametnog glumca", saradnici su na po膷etku saradnje divni i talentovani a na kraju sitni膷avi, ra膷und啪ije, podli, pokvareni (jedno veliko tugy za brata Strugackog koga je tako nagrdio samo zato 拧to je pitao kad 膰e dva honorara koja im duguje). Sol啪enjicin se nije lepo izrazio o Rubljovu, udrimo po Sol啪enjicinu. Antonioni je veliki reditelj >>>> Antonioni je hladan i bezdu拧an 膷ovek. Do trenutka kad sam digla ruke od 膷itanja samo je Tonino Gvera ostao svetla i neokaljana li膷nost, ali malo me je bila uhvatila frka da 膰e se i u njega razo膷arati.
I sve u svemu. Ovo je jedna velika (od nekih sedam stotina strana) potvrda da idoli imaju glinene noge. Prelepo je 拧to po komentarima na GR vidim da ga je mnogo ljudi Martirologijum do啪ivelo sasvim iskreno i nekriti膷ki (i bez najmanjeg potpitanja koliki ego treba imati pa tako nazvati DNEVNIK) i povremeno im zavidim na tome. Li膷no 膰u radije po ne znam koji put odgledati Ogledalo koje je jedna vanvremenski 膷ista i uzvi拧ena lepota i stvarno se nadam da 膰u 拧to pre da pozaboravljam ove zapise.
Na do啪ivljaj ovih dnevnika presudno je uticalo to 拧to volim filmove Tarkovskog ali prema njemu nemam taj idolopokloni膷ki odnos koji zbog ne膷ega na拧i filmofili 膷esto neguju. Od po膷etka nisam imala neku idealnu predstavu o njemu a onda sam svejedno po膷ela da nailazim na neke zapise nad kojima nisam znala da li bih se pre smejala ili plakala. Tipa "Eh, da 啪ivim na Zapadu. Snimao bih film godi拧nje i bio bih milioner!" Bilo kome upoznatom s realno拧膰u snimanja filma na Zapadu (kao 拧to se koju godinu kasnije i sam Tarkovski uverio) jasno je da to nema veze sa 啪ivotom.
A Tarkovski se ina膷e ba拧 mnogo mu膷io i cela ova knjiga je jedno veliko neprekidno gr膷enje oko para (sa tabelicama o tome koliko je od koga pozajmio, tragi膷ne neke svote od vrlo malih do ozbiljnih), oko u啪asa svakodnevice u SSSR-u, o膷ajni膷ko batrganje da se ode iz zemlje i potom izvede i porodica, neopisane muke sa snimanjem filmova, sa saradnicima, sa ljudima, sa 啪enama... e ne, sa 啪enama slabo. Imam sna啪an i mo啪da neopravdan utisak (膽avola neopravdan) da je umetnikova udovica strogo prosejala ove dnevnike.
Ono 拧to je ostalo manje je nalik tekstovima koje je Tarkovski pisao za javnost i o filmskoj umetnosti, a vi拧e hejt na拧 svagdanji i davanje odu拧ka kroz dnevnik. Kumulativno, to ostavlja neprijatan i sve neprijatniji utisak kako 膷itanje odmi膷e. Glumci su glupi, "nikad nisam upoznao pametnog glumca", saradnici su na po膷etku saradnje divni i talentovani a na kraju sitni膷avi, ra膷und啪ije, podli, pokvareni (jedno veliko tugy za brata Strugackog koga je tako nagrdio samo zato 拧to je pitao kad 膰e dva honorara koja im duguje). Sol啪enjicin se nije lepo izrazio o Rubljovu, udrimo po Sol啪enjicinu. Antonioni je veliki reditelj >>>> Antonioni je hladan i bezdu拧an 膷ovek. Do trenutka kad sam digla ruke od 膷itanja samo je Tonino Gvera ostao svetla i neokaljana li膷nost, ali malo me je bila uhvatila frka da 膰e se i u njega razo膷arati.
I sve u svemu. Ovo je jedna velika (od nekih sedam stotina strana) potvrda da idoli imaju glinene noge. Prelepo je 拧to po komentarima na GR vidim da ga je mnogo ljudi Martirologijum do啪ivelo sasvim iskreno i nekriti膷ki (i bez najmanjeg potpitanja koliki ego treba imati pa tako nazvati DNEVNIK) i povremeno im zavidim na tome. Li膷no 膰u radije po ne znam koji put odgledati Ogledalo koje je jedna vanvremenski 膷ista i uzvi拧ena lepota i stvarno se nadam da 膰u 拧to pre da pozaboravljam ove zapise.
October 23, 2017
B枚yle bir kitap i莽in yapay konu艧mamak ad谋na k谋sa kesece臒im.
Tarkovski tarz谋n谋n nas谋l, hangi ortamlarda 艧ekillendi臒ini anlamak ad谋na kusursuz bir eser olmu艧.
陌莽inde sadece sinema sanat谋na ait yakla艧谋mlardan 枚te, psikolojik ve tarihi anlamda 莽ok 眉st betimlemeler de mevcut.
Alt谋n谋 莽izdi臒im onca yer varken bu kitab谋 ger莽ekten burada bir ka莽 lak谋rd谋yla anlatmak zor.
Okuyun, izleyin diyebilirim.
厂补测驳谋濒补谤.
Tarkovski tarz谋n谋n nas谋l, hangi ortamlarda 艧ekillendi臒ini anlamak ad谋na kusursuz bir eser olmu艧.
陌莽inde sadece sinema sanat谋na ait yakla艧谋mlardan 枚te, psikolojik ve tarihi anlamda 莽ok 眉st betimlemeler de mevcut.
Alt谋n谋 莽izdi臒im onca yer varken bu kitab谋 ger莽ekten burada bir ka莽 lak谋rd谋yla anlatmak zor.
Okuyun, izleyin diyebilirim.
厂补测驳谋濒补谤.
April 4, 2020
Tarkovsky suffered a lot in his time. Suffering led him to question things and find meaning in his life. These diaries are very interesting, specially when he writes about his beliefs and philosophies, quotes, thoughts about life, etc... But it also give us an insight to his personality. Tarkovsky had a very traumatic experience, like he underlines in Mirror(1973), the absence of his father in his life, in his mother's life. He developed an identity problem, Tarkovsky couldn't identify himself with many things that wouldn't fit with his experience, which is a pretty common thing, every Human being has this period in their lives, many people live their whole lives like this. As the diaries develop he starts to understand that he is wrong, it is very interesting, he explains, not directly, sometimes, that he is afraid of this knowledge, it is palpable, at least to me it was, he even talks about the story of HG Wells of the human being that is afraid of fruits from the tree of knowledge. He understood, very clearly, that the only truth that exists, in reality is pretty subjective. That every person on earth can only develop faith and even science can only raise more questions, nothing will ever be solved, because there is no problem. We are the problem, we are here to face ourselves.
Tarkovsky excelled in this department, he was given opportunities to face himself. In his art, family, country and etc...
It is very interesting to realize that he practiced Transcendental Meditation, and that it was the wife of Antonionni that guided him. The last 6 years of Tarkovsky were very harsh, full of transformation and conflict. He was deprived of making artistic choices, he had to escape his own country and of course, death.
After Stalker (1979) death followed Tarkovsky, Anatoliy Solonitsyn's illness and death was the first sign. The moments in Italy before and during Nostalgia. It is hard to read. Poor man, he had everything ahead of him, his plans to make The Idiot based on Dostoevsky's novel were pretty interesting and I would have loved seeing it, that and Hamlet. A new Tarkovsky was being deprived of choices, first from his country then from his own body (cancer).
Nevertheless there were moments were I found myself, for the first time, after having read Sculpting in Time, diverging from his opinions. Tarkovsky didn't liked the films of Ozu, didn't like The Red Desert by Antonionni, didn't like Possession by Zulawski. He was trapped in his own sense of what something should be. Many artists are like this which is something that limits them. How hard it was for me to realize that this man would be bored seeing a film by Ozu. How distracted he was with his own arrogance, something that didn't make sense in him at all, his films are full of humanity and are extremely profound, yet he didn't find comfort in the humanity found in Ozu's films, sad. One thing is to disagree with artistic choices, another thing is to be bored. I saw a film 2 years ago, by Naomi Kawase called Radiance, and her choices made me cringe, I didn't like them at all, as a director myself I found the approach almost unbearable, but in the end I was crying, moved by the experience. Cinema is a gateway not a toy, and Tarkovsky knew this, but sometimes he would undermine possible keys that would have given him unique access to that gateway. He was trapped in his own concepts. I guess we all are. Later he talked about consciousness and Meditation started to have an impact on his life. I would have liked to know the Tarkovsky that was meditating for 10-15 years, what would he be like?
In case of the film Possession, he clearly didn't understood the metaphors and blindly called the film satanic, which seemed very childish to me. I understood his indignation, because I've felt those things before, but this man was in his 50's and had such culture. He had too many conceptions about things, he was trapped. No doubt, but he would soon escape them, from this I also don't have a doubt. In these diaries, he kept facing himself with his own indignation, he was well aware of what was going on, that he needed more strength to forge new knowledge.
The last 6 years are filled with gaps, which is understandable, not much in there, other than political pressure and internal pain.
This book is a great asset in many ways and I like it like this... not perfect. Some passages and thoughts I want to re-read and re-think.
Tarkovsky is a stubborn friend that I never met. It is hard not to love him.
Tarkovsky excelled in this department, he was given opportunities to face himself. In his art, family, country and etc...
It is very interesting to realize that he practiced Transcendental Meditation, and that it was the wife of Antonionni that guided him. The last 6 years of Tarkovsky were very harsh, full of transformation and conflict. He was deprived of making artistic choices, he had to escape his own country and of course, death.
After Stalker (1979) death followed Tarkovsky, Anatoliy Solonitsyn's illness and death was the first sign. The moments in Italy before and during Nostalgia. It is hard to read. Poor man, he had everything ahead of him, his plans to make The Idiot based on Dostoevsky's novel were pretty interesting and I would have loved seeing it, that and Hamlet. A new Tarkovsky was being deprived of choices, first from his country then from his own body (cancer).
Nevertheless there were moments were I found myself, for the first time, after having read Sculpting in Time, diverging from his opinions. Tarkovsky didn't liked the films of Ozu, didn't like The Red Desert by Antonionni, didn't like Possession by Zulawski. He was trapped in his own sense of what something should be. Many artists are like this which is something that limits them. How hard it was for me to realize that this man would be bored seeing a film by Ozu. How distracted he was with his own arrogance, something that didn't make sense in him at all, his films are full of humanity and are extremely profound, yet he didn't find comfort in the humanity found in Ozu's films, sad. One thing is to disagree with artistic choices, another thing is to be bored. I saw a film 2 years ago, by Naomi Kawase called Radiance, and her choices made me cringe, I didn't like them at all, as a director myself I found the approach almost unbearable, but in the end I was crying, moved by the experience. Cinema is a gateway not a toy, and Tarkovsky knew this, but sometimes he would undermine possible keys that would have given him unique access to that gateway. He was trapped in his own concepts. I guess we all are. Later he talked about consciousness and Meditation started to have an impact on his life. I would have liked to know the Tarkovsky that was meditating for 10-15 years, what would he be like?
In case of the film Possession, he clearly didn't understood the metaphors and blindly called the film satanic, which seemed very childish to me. I understood his indignation, because I've felt those things before, but this man was in his 50's and had such culture. He had too many conceptions about things, he was trapped. No doubt, but he would soon escape them, from this I also don't have a doubt. In these diaries, he kept facing himself with his own indignation, he was well aware of what was going on, that he needed more strength to forge new knowledge.
The last 6 years are filled with gaps, which is understandable, not much in there, other than political pressure and internal pain.
This book is a great asset in many ways and I like it like this... not perfect. Some passages and thoughts I want to re-read and re-think.
Tarkovsky is a stubborn friend that I never met. It is hard not to love him.
Read
July 15, 2012Andrei Tarkovsky writes:
What I am is an egoist, who is afraid more than anything else in the world of pain suffered by those he loves.
and:
It鈥檚 a feature of any kind of acclaim that it eventually leads to depression, disappointment, even to something rather like a hangover, a feeling of guilt.
.
What I am is an egoist, who is afraid more than anything else in the world of pain suffered by those he loves.
and:
It鈥檚 a feature of any kind of acclaim that it eventually leads to depression, disappointment, even to something rather like a hangover, a feeling of guilt.
.
July 29, 2017
I picked up Tarkovsky's journals hoping to witness the nascence and ripening of his views on the function of art, the criteria for a masterpiece, and the responsibilities of an artist famously professed in Sculping in Time, an all time favorite. What I found instead was a sixteen year long testimony to this bit from it: "The only condition of fighting for the right to create is faith in your vocation, readiness to serve, and refusal to compromise." A large chunk of the entries are exhaustive accounts of his frustrations with the Russian authorities of cinema and culture, who would not stop impeding his work, and with the general atmosphere of stupidity around him. He is a self-assured genius, yet he is proportionally and very honestly dutiful towards his talent in light of his adamant idealism and dedication to truth. He was very fond of Dostoevsky, who "gave him more than any other thinker;" had he lived to realize his Dostoevsky project, the outcome would have been a treasure.
"An artistic image is one that ensures its own development, its historical viability. An image is a grain, a self-evolving retroactive organism. It is a symbol of actual life, as opposed to life itself. Life contins death. An image of life by contrast, excludes it, or else sees in it a unique potential for the affirmation of life. Whatever it expresses, even destruction and ruin, the artistic image is by definition an embodiment of hope.
"An artistic image is one that ensures its own development, its historical viability. An image is a grain, a self-evolving retroactive organism. It is a symbol of actual life, as opposed to life itself. Life contins death. An image of life by contrast, excludes it, or else sees in it a unique potential for the affirmation of life. Whatever it expresses, even destruction and ruin, the artistic image is by definition an embodiment of hope.
December 27, 2024
i was actually intending to read this quite slowly but ended up getting completely sucked in bc it was like having a direct line to tarkovsky who i adore completely that by the end of it it was making me really upset that he was going to die and like maybe i teared up on a public bus what of it. i screenshotted so much from this i think he was a shining light of something real and beautiful and true so it's really fitting that his tombstone reads "the one who saw the angel" bc like. if we're talking about lifting the veil he's as close as any of us ever got and it breaks my heart we were never alive at the same time
February 23, 2022
脕hugaver冒 dagb贸karskrif sem veita manni mikla inns媒n inn 铆 einkal铆f Tarkovsky. Hann er alveg jafn bitur og kr枚fuhar冒ur 铆 dagb贸kum s铆num og hann var 铆 raun og veru. Skrifin hans flakka fr谩 镁v铆 a冒 kvarta undan vanh忙fni m枚ppud媒ra sov茅ska kvikmyndai冒na冒sins, yfir 铆 a冒 drulla yfir megni冒 af 镁eim b贸kum sem hann las, nema 镁忙r s茅u eftir Dostojevsk铆j, Mann e冒a Hesse, og kvikmyndum sem hann horf冒i 谩, nema 镁忙r s茅u eftir Bresson e冒a Bergman. Einnig er a冒 finna 铆 镁essum skrifum h谩tt 铆 30 hugmyndir a冒 kvikmyndum sem Tarkovsky 忙tla冒i s茅r a冒 gera, en t贸kst aldrei. Kvikmyndir upp 煤r 贵谩惫颈迟补苍耻尘 eftir Dostojevsk铆j, Hamlet eftir Shakespeare, Meistarinn og Margar铆ta eftir B煤lgakov, Dau冒i 脥van Ilych eftir Tolstoj og meiri a冒 segja kvikmynd a冒 nafni Bjartur dagur 镁ar sem Bibi Anderson 谩tti a冒 fara me冒 a冒alhlutverk. 脼a冒 sem hef冒i geta veri冒...
Nokkrar f忙rslur sem standa upp 煤r:
18. september 1970
"脡g s谩 afar sl忙ma kvikmynd eftir Bunuel-茅g man ekki hva冒 h煤n h茅t-贸hh, j煤, Tristana, um konu sem er aflimu冒 og missir 镁ar af lei冒andi 谩 s茅r f贸tinn, einnig dreymir hana stundum um bj枚llu sem er me冒 hausinn 谩 eiginmanni/stj煤pf枚冒ur s铆num 铆 sta冒 hamars. H煤n er einstaklega l谩gk煤ruleg. Stundum leyfir Bunuel s茅r mist枚k l铆kt og 镁essi."
7. jan煤ar 1974
"Einhver sag冒i m茅r a冒 镁a冒 v忙ri til vi冒tal vi冒 Bergman einhverssta冒ar 镁ar sem hann segir a冒 茅g s茅 besti starfandi leikstj贸rinn 铆 dag, jafnvel betri en Fellini (?!) sem er 镁a冒 sem hann segir 铆 vi冒talinu. 脡g 镁arf a冒 finna 镁etta vi冒tal, hva冒a t铆marit og hven忙r. 脝tli 镁etta s茅 satt? 脼etta hlj贸mar ekki r茅tt."
10. september 1976
"脥 g忙r, 铆 kringum mi冒n忙tti, e冒a me冒 枚冒rum or冒um a冒faran贸tt 谩ttunda d贸 Ma贸 Zedong. Ekki a冒 镁a冒 skipti neinu m谩li, en 镁a冒 er gott a冒 vita."
Nokkrar f忙rslur sem standa upp 煤r:
18. september 1970
"脡g s谩 afar sl忙ma kvikmynd eftir Bunuel-茅g man ekki hva冒 h煤n h茅t-贸hh, j煤, Tristana, um konu sem er aflimu冒 og missir 镁ar af lei冒andi 谩 s茅r f贸tinn, einnig dreymir hana stundum um bj枚llu sem er me冒 hausinn 谩 eiginmanni/stj煤pf枚冒ur s铆num 铆 sta冒 hamars. H煤n er einstaklega l谩gk煤ruleg. Stundum leyfir Bunuel s茅r mist枚k l铆kt og 镁essi."
7. jan煤ar 1974
"Einhver sag冒i m茅r a冒 镁a冒 v忙ri til vi冒tal vi冒 Bergman einhverssta冒ar 镁ar sem hann segir a冒 茅g s茅 besti starfandi leikstj贸rinn 铆 dag, jafnvel betri en Fellini (?!) sem er 镁a冒 sem hann segir 铆 vi冒talinu. 脡g 镁arf a冒 finna 镁etta vi冒tal, hva冒a t铆marit og hven忙r. 脝tli 镁etta s茅 satt? 脼etta hlj贸mar ekki r茅tt."
10. september 1976
"脥 g忙r, 铆 kringum mi冒n忙tti, e冒a me冒 枚冒rum or冒um a冒faran贸tt 谩ttunda d贸 Ma贸 Zedong. Ekki a冒 镁a冒 skipti neinu m谩li, en 镁a冒 er gott a冒 vita."
November 2, 2020
Citajuci dnevnik Andreja Tarkovskog moze se uvideti sva nesreca njegove duse i surovost vremena u kome je imao peh da se rodi i stvara. Izuzetan filmski i intelektualni um bio je maksimalno sputan od strane kojekakvih komunistickih cinovnika i tog sistema. Njegov ionako veliki doprinos umetnosti bio bi nemerljivo jos veci da je imao srecu i mogucnost da snima onako i onoliko koliko je zeleo i mogao. Hronicna besparica i sve prisutni problemi koje je imao u Rusiji, odvojenost od porodice i strahovit pritisak uz ucene koje je trpeo od ljudi iz Moskve cinile su njegov zivot i stvaralastvo gotovo nemogucim. Dnevnici koje smo imali srece da ih Tarkovski pise daju potpuni uvid u zivot, razmisljanje i dogadjaje koji su ga pratili gotovo sve do samog kraja.
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October 16, 2021Kauhean kiinnostava sekoitus yleis枚n paperilappusv盲litteisi盲 kommentteja, velkakirjoja, intoilua luetusta kaunokirjallisuudesta, raksasuunnitelmia ja -toteutumia, mit盲 mielikuvituksellisempien unien yl枚skirjauksia, visioita ja aikatauluja tulevasta taiteellisesta ty枚st盲, r盲hin盲盲 kun jotain on kielletty tai muuten vain hankaloitetaan ("Menip盲 myttyyn! Senkin roistot!"), armottomia murska-arvioita ihmisist盲 ja teoksista, oman ylivertaisuuden huomioimista, uskonnollisia ja yhteiskunnallisia ajatelmia, aivan hirve盲盲 s盲hlinki盲 elokuvien rahoituksen ja Bergmanin tapaamisen j盲rjestelemisess盲. Ja kaiken taustalla seurataan Tarkovskin pojan kasvamista, omia hammasongelmia ja Larisa-vaimon terveysvaivoja.
Ihmeellisint盲 on ohjaajan taiteelliselle ty枚lle esitetyt uskomattoman k盲m盲iset vaatimukset poliittisen hallinnon puolelta ja se, miten menestyksest盲 ja yleis枚n kiinnostuksesta huolimatta elokuvien levityksen kanssa venkoillaan. Hyv盲盲 luettavaa, jos tuntuu, ett盲 omat projektit uppoaa k盲yt盲nn枚n asioiden solmuisaan setvimiseen tai pit盲盲 Tarkovskin elokuvista muuten vain. Tai jos on alam盲ke盲, niin voin kuvitella, ett盲 auttaisi lukea yhden loputtoman visi枚n盲盲risen ihmisen vuoristorataa noin kymmenen vuoden ajalta pikakelauksella. Kaikenlaisia kohtia yritin painaa mieleen ja kirjaan merkit盲, mutta joko halusin vain k盲盲nt盲盲 sivua tai erin盲iset karkkipaperit leijailivat tiehens盲. T盲ss盲 kuitenkin maistiainen edell盲 kuvatusta ailahtelevaisuudesta:
"22. lokakuuta [1979]
Jumalani! Kaikki on niin masentavan surullista! Alan voida pahoin, voisin vaikka menn盲 hirteen. Tunnen itseni niin yksin盲iseksi... Ja t盲m盲 tunne muuttuu viel盲 pelottavammaksi kun alkaa oivaltaa, ett盲 yksin盲isyys merkitsee kuolemaa. Kaikki ovat pett盲neet minua ja tulevat tekem盲盲n niin vastakin. Olen aivan yksin. Kaikki sieluni aukot avautuvat, siit盲 tulee suojaton ja turvaton ja silloin kuolema alkaa tunkeutua sis盲lle. En halua en盲盲 el盲盲. Pelk盲盲n. El盲m盲ni on tullut siet盲m盲tt枚m盲ksi.
30. lokakuuta
T盲ss盲 maailmassa on kaikki mahdollista."
Ihmeellisint盲 on ohjaajan taiteelliselle ty枚lle esitetyt uskomattoman k盲m盲iset vaatimukset poliittisen hallinnon puolelta ja se, miten menestyksest盲 ja yleis枚n kiinnostuksesta huolimatta elokuvien levityksen kanssa venkoillaan. Hyv盲盲 luettavaa, jos tuntuu, ett盲 omat projektit uppoaa k盲yt盲nn枚n asioiden solmuisaan setvimiseen tai pit盲盲 Tarkovskin elokuvista muuten vain. Tai jos on alam盲ke盲, niin voin kuvitella, ett盲 auttaisi lukea yhden loputtoman visi枚n盲盲risen ihmisen vuoristorataa noin kymmenen vuoden ajalta pikakelauksella. Kaikenlaisia kohtia yritin painaa mieleen ja kirjaan merkit盲, mutta joko halusin vain k盲盲nt盲盲 sivua tai erin盲iset karkkipaperit leijailivat tiehens盲. T盲ss盲 kuitenkin maistiainen edell盲 kuvatusta ailahtelevaisuudesta:
"22. lokakuuta [1979]
Jumalani! Kaikki on niin masentavan surullista! Alan voida pahoin, voisin vaikka menn盲 hirteen. Tunnen itseni niin yksin盲iseksi... Ja t盲m盲 tunne muuttuu viel盲 pelottavammaksi kun alkaa oivaltaa, ett盲 yksin盲isyys merkitsee kuolemaa. Kaikki ovat pett盲neet minua ja tulevat tekem盲盲n niin vastakin. Olen aivan yksin. Kaikki sieluni aukot avautuvat, siit盲 tulee suojaton ja turvaton ja silloin kuolema alkaa tunkeutua sis盲lle. En halua en盲盲 el盲盲. Pelk盲盲n. El盲m盲ni on tullut siet盲m盲tt枚m盲ksi.
30. lokakuuta
T盲ss盲 maailmassa on kaikki mahdollista."
February 6, 2022
袨 效袝袦 袣袧袠袚袗:
袩褉芯褔懈褌邪谢 写薪械胁薪懈泻懈 孝邪褉泻芯胁褋泻芯谐芯 锌芯褋谢械 芯褔械褉械写薪芯谐芯 锌褉芯褋屑芯褌褉邪 芦小芯谢褟褉懈褋邪禄. 袨褔械薪褜 谢褞斜谢褞 褔懈褌邪褌褜 写薪械胁薪懈泻懈 懈 屑械屑褍邪褉褘 褟褉泻懈褏, 懈蟹胁械褋褌薪褘褏 谢褞写械泄. 袣芯谐写邪 褔懈褌邪械褕褜, 褌芯 锌芯谢薪芯褋褌褜褞 锌芯谐褉褍卸邪械褕褜褋褟 胁 卸懈蟹薪褜 褔械谢芯胁械泻邪 懈 薪邪褔懈薪邪械褕褜 薪械屑薪芯谐芯 锌芯 写褉褍谐芯屑褍 胁芯褋锌褉懈薪懈屑邪褌褜 懈 褋芯斜褘褌懈褟 褋胁芯械泄 卸懈蟹薪懈.
孝邪褉泻芯胁褋泻懈泄 芯褌泻褉芯胁械薪薪芯 芯锌懈褋褘胁邪械褌 褋胁芯泄 斜褘褌, 锌褉芯褑械褋褋 褋褗褢屑芯泻, 谢懈褔薪褍褞 卸懈蟹薪褜 懈 屑褘褋谢懈 芯 锌褉芯懈褋褏芯写褟褖械屑 胁 褋褌褉邪薪械. 袨褔械褉械写薪芯泄 褉邪蟹 锌芯薪懈屑邪械褕褜, 泻邪泻 褌褟卸械谢邪 卸懈蟹薪褜 褏褍写芯卸薪懈泻邪.
袚袥袗袙袧袗携 袦蝎小袥鞋 袣袧袠袚袠:
孝邪褉泻芯胁褋泻懈泄 薪邪蟹胁邪谢 褋胁芯懈 写薪械胁薪懈泻懈 芦袦邪褉褌懈褉芯谢芯谐禄 - 锌械褉械褔械薪褜 褋褌褉邪写邪薪懈泄. 袧邪褋褌褉芯泄 懈 褌芯薪 写薪械胁薪懈泻芯胁 芯锌懈褋褘胁邪械褌 芯写薪邪 褎褉邪蟹邪 褉械卸懈褋褋械褉邪, 泻芯褌芯褉褍褞 芯薪 谢褞斜懈谢 锌芯胁褌芯褉褟褌褜 芦屑褘 薪械 褋芯蟹写邪薪褘 写谢褟 褋褔邪褋褌褜褟, 械褋褌褜 胁械褖懈 胁邪卸薪械械, 褔械屑 褋褔邪褋褌褜械禄.
袟袗效袝袦 效袠孝袗孝鞋 协孝校 袣袧袠袚校?
效褌芯斜褘 锌芯薪褟褌褜, 褔褌芯 锌械褉械卸懈谢 胁械谢懈泻懈泄 褉械卸懈褋褋褢褉 蟹邪 锌芯褋谢械写薪懈械 16 谢械褌 褋胁芯械泄 卸懈蟹薪懈.
袦蝎小袥袠 袠 袙蝎袙袨袛蝎 袠袟 袣袧袠袚袠:
- 芦袠褋褌懈薪邪 写芯谢卸薪邪 斜褘褌褜 锌械褉械卸懈褌邪, 邪 薪械 锌褉械锌芯写邪薪邪禄 - 袚械褋褋械
- 芦校写械谢 褋芯胁械褌褋泻芯谐芯 褉械卸懈褋褋械褉邪 - 褋薪懈屑邪褌褜 褋谢懈褕泻芯屑 写芯谢谐芯禄.
- 芦孝邪谢邪薪褌 - 薪械褋褔邪褋褌褜械, 懈斜芯, 褋 芯写薪芯泄 褋褌芯褉芯薪褘, 薪械 写邪械褌 薪懈泻邪泻芯谐芯 锌褉邪胁邪 薪邪 薪邪 写芯褋褌芯懈薪褋褌胁芯 懈谢懈 褍胁邪卸械薪懈械, 褋 写褉褍谐芯泄 卸械 胁芯蟹谢邪谐邪械褌 芯谐褉芯屑薪褘械 芯斜褟蟹邪褌械谢褜褋褌胁邪禄.
- 芦袧邪褋褌芯褟褖械械 懈褋泻褍褋褋褌胁芯 懈褏 锌褍谐邪械褌. 协褌芯, 泻芯薪械褔薪芯, 械褋褌械褋褌胁械薪薪芯; 懈褋泻褍褋褋褌胁芯, 斜械蟹 褋芯屑薪械薪懈褟, 锌褉芯褌懈胁芯锌芯泻邪蟹邪薪芯 懈屑, 懈斜芯 芯薪芯 鈥� 谐褍屑邪薪薪芯, 邪 懈褏 薪邪蟹薪邪褔械薪懈械 鈥� 写邪胁懈褌褜 胁褋褢 卸懈胁芯械, 胁褋械 褉芯褋褌泻懈 谐褍屑邪薪懈蟹屑邪, 斜褍写褜 褌芯 褋褌褉械屑谢械薪懈械 褔械谢芯胁械泻邪 泻 褋胁芯斜芯写械 懈谢懈 锌芯褟胁谢械薪懈械 薪邪 薪邪褕械屑 褌褍褋泻谢芯屑 谐芯褉懈蟹芯薪褌械 褟胁谢械薪懈泄 懈褋泻褍褋褋褌胁邪. 袨薪懈 薪械 褍褋锌芯泻芯褟褌褋褟 写芯 褌械褏 锌芯褉, 锌芯泻邪 薪械 褍薪懈褔褌芯卸邪褌 胁褋械 锌褉懈蟹薪邪泻懈 褋邪屑芯褋褌芯褟褌械谢褜薪芯褋褌懈 懈 薪械 锌褉械胁褉邪褌褟褌 谢懈褔薪芯褋褌褜 胁 褋泻芯褌懈薪褍禄.
- 芦袩邪褉懈卸 锌褉械泻褉邪褋械薪. 袙 薪械屑 褔褍胁褋褌胁褍械褕褜 褋械斜褟 褋胁芯斜芯写薪芯: 薪懈 褌褘 薪懈泻芯屑褍 薪械 薪褍卸械薪, 薪懈 褌械斜械 薪懈泻褌芯禄.
- 芦袩褉械卸写械 胁褋械谐芯 泻懈薪芯 - 褝褌芯 锌褉芯懈蟹胁械写械薪懈械, 薪械胁芯蟹屑芯卸薪芯械 薪懈 胁 泻邪泻芯屑 写褉褍谐芯屑 胁懈写械 懈褋泻褍褋褋褌胁邪. 孝芯 械褋褌褜 泻懈薪芯 - 褝褌芯 谢懈褕褜 褌芯, 褔褌芯 屑芯卸薪芯 褋芯蟹写邪褌褜 锌褉懈 锌芯屑芯褖懈 泻懈薪芯 懈 褌芯谢褜泻芯 泻懈薪芯禄.
- 芦袦芯褟 褑械谢褜 胁褘胁械褋褌懈 泻懈薪芯 胁 褉褟写 胁褋械褏 写褉褍谐懈褏 懈褋泻褍褋褋褌胁. 小写械谢邪褌褜 械谐芯 锌芯谢薪芯锌褉邪胁薪褘屑 锌械褉械写 谢懈褑芯屑 屑褍蟹褘泻懈, 锌芯褝蟹懈懈, 锌褉芯蟹褘 懈 褌.写.禄.
袝些袝 袧袗 协孝校 孝袝袦校:
小械褉谐械泄 协泄蟹械薪褕褌械泄薪 芦YO. 袦械屑褍邪褉褘禄
袩褉芯褔懈褌邪谢 写薪械胁薪懈泻懈 孝邪褉泻芯胁褋泻芯谐芯 锌芯褋谢械 芯褔械褉械写薪芯谐芯 锌褉芯褋屑芯褌褉邪 芦小芯谢褟褉懈褋邪禄. 袨褔械薪褜 谢褞斜谢褞 褔懈褌邪褌褜 写薪械胁薪懈泻懈 懈 屑械屑褍邪褉褘 褟褉泻懈褏, 懈蟹胁械褋褌薪褘褏 谢褞写械泄. 袣芯谐写邪 褔懈褌邪械褕褜, 褌芯 锌芯谢薪芯褋褌褜褞 锌芯谐褉褍卸邪械褕褜褋褟 胁 卸懈蟹薪褜 褔械谢芯胁械泻邪 懈 薪邪褔懈薪邪械褕褜 薪械屑薪芯谐芯 锌芯 写褉褍谐芯屑褍 胁芯褋锌褉懈薪懈屑邪褌褜 懈 褋芯斜褘褌懈褟 褋胁芯械泄 卸懈蟹薪懈.
孝邪褉泻芯胁褋泻懈泄 芯褌泻褉芯胁械薪薪芯 芯锌懈褋褘胁邪械褌 褋胁芯泄 斜褘褌, 锌褉芯褑械褋褋 褋褗褢屑芯泻, 谢懈褔薪褍褞 卸懈蟹薪褜 懈 屑褘褋谢懈 芯 锌褉芯懈褋褏芯写褟褖械屑 胁 褋褌褉邪薪械. 袨褔械褉械写薪芯泄 褉邪蟹 锌芯薪懈屑邪械褕褜, 泻邪泻 褌褟卸械谢邪 卸懈蟹薪褜 褏褍写芯卸薪懈泻邪.
袚袥袗袙袧袗携 袦蝎小袥鞋 袣袧袠袚袠:
孝邪褉泻芯胁褋泻懈泄 薪邪蟹胁邪谢 褋胁芯懈 写薪械胁薪懈泻懈 芦袦邪褉褌懈褉芯谢芯谐禄 - 锌械褉械褔械薪褜 褋褌褉邪写邪薪懈泄. 袧邪褋褌褉芯泄 懈 褌芯薪 写薪械胁薪懈泻芯胁 芯锌懈褋褘胁邪械褌 芯写薪邪 褎褉邪蟹邪 褉械卸懈褋褋械褉邪, 泻芯褌芯褉褍褞 芯薪 谢褞斜懈谢 锌芯胁褌芯褉褟褌褜 芦屑褘 薪械 褋芯蟹写邪薪褘 写谢褟 褋褔邪褋褌褜褟, 械褋褌褜 胁械褖懈 胁邪卸薪械械, 褔械屑 褋褔邪褋褌褜械禄.
袟袗效袝袦 效袠孝袗孝鞋 协孝校 袣袧袠袚校?
效褌芯斜褘 锌芯薪褟褌褜, 褔褌芯 锌械褉械卸懈谢 胁械谢懈泻懈泄 褉械卸懈褋褋褢褉 蟹邪 锌芯褋谢械写薪懈械 16 谢械褌 褋胁芯械泄 卸懈蟹薪懈.
袦蝎小袥袠 袠 袙蝎袙袨袛蝎 袠袟 袣袧袠袚袠:
- 芦袠褋褌懈薪邪 写芯谢卸薪邪 斜褘褌褜 锌械褉械卸懈褌邪, 邪 薪械 锌褉械锌芯写邪薪邪禄 - 袚械褋褋械
- 芦校写械谢 褋芯胁械褌褋泻芯谐芯 褉械卸懈褋褋械褉邪 - 褋薪懈屑邪褌褜 褋谢懈褕泻芯屑 写芯谢谐芯禄.
- 芦孝邪谢邪薪褌 - 薪械褋褔邪褋褌褜械, 懈斜芯, 褋 芯写薪芯泄 褋褌芯褉芯薪褘, 薪械 写邪械褌 薪懈泻邪泻芯谐芯 锌褉邪胁邪 薪邪 薪邪 写芯褋褌芯懈薪褋褌胁芯 懈谢懈 褍胁邪卸械薪懈械, 褋 写褉褍谐芯泄 卸械 胁芯蟹谢邪谐邪械褌 芯谐褉芯屑薪褘械 芯斜褟蟹邪褌械谢褜褋褌胁邪禄.
- 芦袧邪褋褌芯褟褖械械 懈褋泻褍褋褋褌胁芯 懈褏 锌褍谐邪械褌. 协褌芯, 泻芯薪械褔薪芯, 械褋褌械褋褌胁械薪薪芯; 懈褋泻褍褋褋褌胁芯, 斜械蟹 褋芯屑薪械薪懈褟, 锌褉芯褌懈胁芯锌芯泻邪蟹邪薪芯 懈屑, 懈斜芯 芯薪芯 鈥� 谐褍屑邪薪薪芯, 邪 懈褏 薪邪蟹薪邪褔械薪懈械 鈥� 写邪胁懈褌褜 胁褋褢 卸懈胁芯械, 胁褋械 褉芯褋褌泻懈 谐褍屑邪薪懈蟹屑邪, 斜褍写褜 褌芯 褋褌褉械屑谢械薪懈械 褔械谢芯胁械泻邪 泻 褋胁芯斜芯写械 懈谢懈 锌芯褟胁谢械薪懈械 薪邪 薪邪褕械屑 褌褍褋泻谢芯屑 谐芯褉懈蟹芯薪褌械 褟胁谢械薪懈泄 懈褋泻褍褋褋褌胁邪. 袨薪懈 薪械 褍褋锌芯泻芯褟褌褋褟 写芯 褌械褏 锌芯褉, 锌芯泻邪 薪械 褍薪懈褔褌芯卸邪褌 胁褋械 锌褉懈蟹薪邪泻懈 褋邪屑芯褋褌芯褟褌械谢褜薪芯褋褌懈 懈 薪械 锌褉械胁褉邪褌褟褌 谢懈褔薪芯褋褌褜 胁 褋泻芯褌懈薪褍禄.
- 芦袩邪褉懈卸 锌褉械泻褉邪褋械薪. 袙 薪械屑 褔褍胁褋褌胁褍械褕褜 褋械斜褟 褋胁芯斜芯写薪芯: 薪懈 褌褘 薪懈泻芯屑褍 薪械 薪褍卸械薪, 薪懈 褌械斜械 薪懈泻褌芯禄.
- 芦袩褉械卸写械 胁褋械谐芯 泻懈薪芯 - 褝褌芯 锌褉芯懈蟹胁械写械薪懈械, 薪械胁芯蟹屑芯卸薪芯械 薪懈 胁 泻邪泻芯屑 写褉褍谐芯屑 胁懈写械 懈褋泻褍褋褋褌胁邪. 孝芯 械褋褌褜 泻懈薪芯 - 褝褌芯 谢懈褕褜 褌芯, 褔褌芯 屑芯卸薪芯 褋芯蟹写邪褌褜 锌褉懈 锌芯屑芯褖懈 泻懈薪芯 懈 褌芯谢褜泻芯 泻懈薪芯禄.
- 芦袦芯褟 褑械谢褜 胁褘胁械褋褌懈 泻懈薪芯 胁 褉褟写 胁褋械褏 写褉褍谐懈褏 懈褋泻褍褋褋褌胁. 小写械谢邪褌褜 械谐芯 锌芯谢薪芯锌褉邪胁薪褘屑 锌械褉械写 谢懈褑芯屑 屑褍蟹褘泻懈, 锌芯褝蟹懈懈, 锌褉芯蟹褘 懈 褌.写.禄.
袝些袝 袧袗 协孝校 孝袝袦校:
小械褉谐械泄 协泄蟹械薪褕褌械泄薪 芦YO. 袦械屑褍邪褉褘禄
July 15, 2021
螛伪螡慰渭委味蠅 蠈蟿喂 蔚委谓伪喂 苇谓伪 蔚尉伪喂蟻蔚蟿喂魏蠈 谓蟿慰魏慰蠀渭苇谓蟿慰 蟿畏蟼 尾伪蟽伪谓喂蟽渭苇谓畏蟼 味蠅萎蟼 蟿慰蠀 韦伪蟻魏蠈蠁蟽魏喂. 螆谓伪蟼 蟽魏畏谓慰胃苇蟿畏蟼 伪蟺蠈 蟿慰蠀蟼 渭蔚纬伪位蠉蟿蔚蟻慰蠀蟼 蠈位蠅谓 蟿蠅谓 蔚蟺慰蠂蠋谓 味慰蠉蟽蔚 渭苇蟽伪 蟽蟿畏谓 伪谓苇蠂蔚喂伪 魏伪喂 蟿畏谓 伪纬蠅谓委伪. 螣喂 渭伪蟻蟿蠀蟻委蔚蟼 纬喂伪 蟿伪 蟺蟻慰尾位萎渭伪蟿伪 蟺慰蠀 蟿慰蠀 蟺蟻慰魏伪位慰蠉蟽蔚 蟿慰 魏伪胃蔚蟽蟿蠋蟼 蟿蠅谓 蟽慰尾喂蔚蟿喂魏蠋谓, 慰喂 委谓蟿蟻喂纬魏蔚蟼 伪蟺蠈 蟿慰 蠂蠋蟻慰. 螣 巍慰蠀渭蟺位喂蠈蠁 蔚委蠂蔚 6 未喂蔚胃谓萎 尾蟻伪尾蔚委伪 魏伪喂 未蔚谓 蟺伪喂味蠈蟿伪谓 伪魏蠈渭畏 蟽蟿畏谓 蟽慰尾喂蔚蟿喂魏萎 苇谓蠅蟽畏.
螒蟺蠈 蟿畏谓 维位位畏 慰喂 蔚纬纬蟻伪蠁苇蟼 蟽蟿伪 畏渭蔚蟻慰位蠈纬喂伪 伪蠀蟿维, 苇蠂慰蠀谓 慰蟻喂蟽渭苇谓蔚蟼 蠁慰蟻苇蟼 伪蠀蟿萎 蟿畏谓 蟺慰喂畏蟿喂魏萎 蟻慰萎 蟿慰蠀 韦伪蟻魏蠈蠁蟽魏喂 蟺慰蠀 蟽蔚 蟽蠀谓伪蟻蟺维味蔚喂. 螝喂 伪蟼 位苇蔚喂 纬喂伪 蟿伪 未伪谓蔚喂魏维 蟺慰蠀 蠂蟻蠅蟽蟿维蔚喂.
螘蟺委蟽畏蟼 蟺慰位蠉 蟽畏渭伪谓蟿喂魏苇蟼 纬喂伪 渭苇谓伪 蔚委谓伪喂 慰喂 伪谓伪蠁慰蟻苇蟼 蟿慰蠀 魏伪喂 蟿伪 蟺伪蟻伪胃苇渭伪蟿伪 蟺慰蠀 渭伪蟼 未委谓蔚喂 伪蟺蠈 未喂维蠁慰蟻慰蠀蟼 位慰纬慰蟿苇蠂谓蔚蟼. 螠蔚 蔚尉苇蟺位畏尉蔚 伪蟻谓畏蟿喂魏维 蟿慰 蠈蟿喂 伪蠀蟿蠈蟼 慰 维谓胃蟻蠅蟺慰蟼 蟽蟿维胃畏魏蔚 伪谓委魏伪谓慰蟼 谓伪 魏伪蟿伪谓慰萎蟽蔚喂 蟿慰谓 螝维蠁魏伪.
螒谓 魏伪喂 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 慰纬魏蠋未蔚蟼 畏渭蔚蟻慰位蠈纬喂慰, 纬喂伪 渭苇谓伪 蔚委谓伪喂 伪蟺蠈 蟿伪 蟺喂慰 蟽畏渭伪谓蟿喂魏维 尾喂尾位委伪 蟺慰蠀 苇蠂蠅 未喂伪尾维蟽蔚喂, 魏伪喂 渭慰蠀 未委谓蔚喂 渭喂伪 伪魏蠈渭畏 慰蟺蟿喂魏萎 纬喂伪 谓伪 尉伪谓伪未蠋 蟿喂蟼 蟿伪喂谓委蔚蟼 蟿慰蠀.
螒蟺蠈 蟿畏谓 维位位畏 慰喂 蔚纬纬蟻伪蠁苇蟼 蟽蟿伪 畏渭蔚蟻慰位蠈纬喂伪 伪蠀蟿维, 苇蠂慰蠀谓 慰蟻喂蟽渭苇谓蔚蟼 蠁慰蟻苇蟼 伪蠀蟿萎 蟿畏谓 蟺慰喂畏蟿喂魏萎 蟻慰萎 蟿慰蠀 韦伪蟻魏蠈蠁蟽魏喂 蟺慰蠀 蟽蔚 蟽蠀谓伪蟻蟺维味蔚喂. 螝喂 伪蟼 位苇蔚喂 纬喂伪 蟿伪 未伪谓蔚喂魏维 蟺慰蠀 蠂蟻蠅蟽蟿维蔚喂.
螘蟺委蟽畏蟼 蟺慰位蠉 蟽畏渭伪谓蟿喂魏苇蟼 纬喂伪 渭苇谓伪 蔚委谓伪喂 慰喂 伪谓伪蠁慰蟻苇蟼 蟿慰蠀 魏伪喂 蟿伪 蟺伪蟻伪胃苇渭伪蟿伪 蟺慰蠀 渭伪蟼 未委谓蔚喂 伪蟺蠈 未喂维蠁慰蟻慰蠀蟼 位慰纬慰蟿苇蠂谓蔚蟼. 螠蔚 蔚尉苇蟺位畏尉蔚 伪蟻谓畏蟿喂魏维 蟿慰 蠈蟿喂 伪蠀蟿蠈蟼 慰 维谓胃蟻蠅蟺慰蟼 蟽蟿维胃畏魏蔚 伪谓委魏伪谓慰蟼 谓伪 魏伪蟿伪谓慰萎蟽蔚喂 蟿慰谓 螝维蠁魏伪.
螒谓 魏伪喂 蟺蟻蠈魏蔚喂蟿伪喂 纬喂伪 苇谓伪 慰纬魏蠋未蔚蟼 畏渭蔚蟻慰位蠈纬喂慰, 纬喂伪 渭苇谓伪 蔚委谓伪喂 伪蟺蠈 蟿伪 蟺喂慰 蟽畏渭伪谓蟿喂魏维 尾喂尾位委伪 蟺慰蠀 苇蠂蠅 未喂伪尾维蟽蔚喂, 魏伪喂 渭慰蠀 未委谓蔚喂 渭喂伪 伪魏蠈渭畏 慰蟺蟿喂魏萎 纬喂伪 谓伪 尉伪谓伪未蠋 蟿喂蟼 蟿伪喂谓委蔚蟼 蟿慰蠀.
This entire review has been hidden because of spoilers.
May 17, 2015
This is a hard book to review because it was never really meant for the public's eye. But there are passages of immense philosophical depth (as one would expect from Tarkovsky) and passages of dull, quotidian routine. Come for the philosophy and stay for the slams. (When A.T. hates something, he REALLY hates it, and he makes no effort to disguise his displeasure.)
November 17, 2024
脼v铆l铆kur hugsu冒ur; 镁v铆l铆kt vision!
脫tr煤legt hva冒 honum t贸kst a冒 skapa og framkv忙ma margt undir 枚murlegri og k忙fandi komm煤nistastj贸rn. En svo sorglegt 谩 sama t铆ma a冒 hugsa um allt sem hann hef冒i geta冒 gert 铆 frj谩lsara umhverfi. Kannski, samt, er hans f贸tspor 铆 mannskyns枚gunni svona dj煤pt einmitt 煤taf 镁essum kringumst忙冒um, 茅g veit 镁a冒 ekki.
脥 dagb贸kunum birtast mj枚g dj煤p samt枚l Tarkovsk铆s vi冒 eldri spekinga eins og Tolstoy, Montaigne, Seneca, Dostojevsk铆, Hesse, Mann, og s铆冒ast en ekki s铆st; vi冒 sj谩lfan sig.
Mj枚g fr贸冒legt l铆ka hvernig hann hellir s铆num eigin p忙lingum ofan 铆 镁ekkingarbrunn R煤sslands. Fannst l铆ka oft eins og hann v忙ri a冒 kve冒ast 谩 vi冒 Tolstoy og fleiri r煤ssneska hugsu冒i.
Vangaveltur og opinberanir um heiminn og manninn ver冒a s铆冒an meira 谩berandi 谩 seinni 谩runum; virkilega 谩takanlegt a冒 lesa f忙rslurnar s铆冒ustu 镁rj煤 谩rin.
Fr谩b忙r lesning 鈥� m忙li me冒.
脫tr煤legt hva冒 honum t贸kst a冒 skapa og framkv忙ma margt undir 枚murlegri og k忙fandi komm煤nistastj贸rn. En svo sorglegt 谩 sama t铆ma a冒 hugsa um allt sem hann hef冒i geta冒 gert 铆 frj谩lsara umhverfi. Kannski, samt, er hans f贸tspor 铆 mannskyns枚gunni svona dj煤pt einmitt 煤taf 镁essum kringumst忙冒um, 茅g veit 镁a冒 ekki.
脥 dagb贸kunum birtast mj枚g dj煤p samt枚l Tarkovsk铆s vi冒 eldri spekinga eins og Tolstoy, Montaigne, Seneca, Dostojevsk铆, Hesse, Mann, og s铆冒ast en ekki s铆st; vi冒 sj谩lfan sig.
Mj枚g fr贸冒legt l铆ka hvernig hann hellir s铆num eigin p忙lingum ofan 铆 镁ekkingarbrunn R煤sslands. Fannst l铆ka oft eins og hann v忙ri a冒 kve冒ast 谩 vi冒 Tolstoy og fleiri r煤ssneska hugsu冒i.
Vangaveltur og opinberanir um heiminn og manninn ver冒a s铆冒an meira 谩berandi 谩 seinni 谩runum; virkilega 谩takanlegt a冒 lesa f忙rslurnar s铆冒ustu 镁rj煤 谩rin.
Fr谩b忙r lesning 鈥� m忙li me冒.
September 30, 2020
Bu kitab谋 M眉h眉rlenmi艧 Zaman'谋 莽ok be臒endi臒im i莽in alm谋艧t谋m. Tarkovsky'in g眉nl眉臒眉 莽ok fazla g眉ndelik hayat谋n tozu sayfay谋 da i莽eriyor, bu k谋sm谋 okumak biraz yorucu oldu. Ama aralarda d眉艧眉nce d眉nyas谋na dokunabildi臒imiz yerler var.
April 14, 2021
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唳灌唳唳�, 唳唳澿唳涏啷�
唳ㄠ唳溹唳曕 唳膏Π唳苦Ο唳监 唳ㄠ唳�?
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April 29, 2019
衼褋褌芯泄 谢 褋褝褌谐褝谢 斜邪褟卸褍褍谢褋邪薪, 褏邪褉邪褏 萤薪褑萤谐 薪褝屑褋褝薪 褋邪泄褏邪薪 薪芯屑 斜邪泄谢邪邪. 挟褍薪 褌爷褉爷爷薪写 泻懈薪芯 谐褝写褝谐 蟹爷泄谢懈泄谐 褍褉谢邪谐懈泄薪 斜爷褌褝褝谢 褌邪谢邪邪褋 薪褜 褏爷谢褝褝薪 蟹萤胁褕萤萤褉褔, 爷蟹写褝谐 斜芯谢芯胁. 携邪谐邪邪写 褔 褞屑 泻懈薪芯 褍褉谢邪谐懈泄谐 芯泄褕芯芯谐芯芯写 斜邪泄写邪谐谐爷泄, 爷蟹褝褏 谐褝卸 褢褋褌芯泄 褌邪屑褘薪 褕褍褉谐褍褍谢谐邪 斜芯谢写芯谐 薪邪写写邪邪 斜芯谢 写褝屑褕懈谢褌褝褌 蟹爷泄谢 谢 写褝褝. 袚褝褏写褝褝 屑褝写褝褝卸 邪谢懈胁邪邪 褍褉谢邪谐懈泄薪 褌萤褉萤谢 斜爷褉 写芯褌褉芯芯 卸懈薪褏褝薪褝 褍褉谢邪谐 斜芯谢卸 褔邪写邪褏 褔邪写邪褏谐爷泄 斜爷褌褝褝谢爷爷写褝褝褋 斜爷褉写褝卸, 褌褝谐卸 褟谢谐邪褉褔 谐褝屑褝褝薪 懈谢爷爷 邪褏懈卸 写褝胁褕懈卸 斜邪泄写邪谐 褏芯泄薪芯 屑褝写褝褝卸 泻懈薪芯薪褘 褋邪泄薪 屑褍褍谐 褟谢谐邪卸 褋褍褉邪褏 褋褝褉褝谢 屑褝写褉褝褏爷泄谐褝褝 谢 褋邪泄卸褉褍褍谢褗褟 谐褝卸 斜芯写芯胁. 小邪泄薪 斜爷褌褝褝谢 褔 褌褝谐褝褝写 邪薪写邪褕谐爷泄 写褝褝. 袟邪 褝薪褝 褔 褟邪褏邪胁. 协薪褝 褏爷屑爷爷薪 爷薪褝褏褝褝褉 谢 褏芯褉胁芯芯 写褝谢褏懈泄写 褑邪谐谢邪褕谐爷泄谐 斜爷褌褝褝褏 谐褝卸, 褌褝褉薪懈泄褏褝褝 褌萤谢萤萤 褕邪薪邪谢卸 褌褝胁写褝卸 褝褑褋懈泄薪 褝褑褝褋褌 斜爷褌褝褝褋褝褝褉, 写邪褏懈薪 斜爷褌褝褝褏懈泄谐 褌褝屑爷爷谢褋褝褝褉 写褍褍褋褔褝褝. 袗谢懈胁 薪褝谐 蟹爷泄谢写 写褍褉谢邪卸, 褌爷爷薪懈泄褏褝褝 褌萤谢萤萤 斜爷褏薪褝褝 蟹芯褉懈褍谢薪邪 谐褝写褝谐 邪屑褜写褉邪谢褘薪 卸懈薪褏褝薪褝 褍褔懈褉 斜懈褕 谐褝卸 爷爷. 袘爷褌褝褝褏懈泄薪 褌褍谢写 写芯褌芯芯写 褋褝褌谐褝谢褝褝 斜邪褟卸褍褍谢邪褏 褏褝褉褝谐 谐邪褉薪邪邪 写邪邪. 协褋胁褝谢 袦褝写褝褏 褌褍褋邪屑 屑褝写褝褏谐爷泄谐褝褝 屑褝写褋褝薪褝褝褉 斜爷褌褝褝褏 谐褝谐褝褝薪 褏爷褋褝谢 褝褉屑褝谢蟹褝谢 褍薪写邪褉写邪谐 褔 褞屑 斜芯谢芯胁 褍褍. 袚褝褋薪褝褝褋 斜邪泄薪邪 邪邪, 蟹萤胁谢萤谢褌 屑邪薪褜 薪邪泄褉褍褍谢邪谐褔懈泄谐 褢褋褌芯泄 蟹芯胁芯芯卸 斜邪泄卸褝褝. 袠泄屑 蟹芯胁谢芯薪 斜邪泄褋邪薪 斜芯谢芯芯写 谢 懈谢爷爷 褋邪泄薪 斜爷褌褝褝谢 谐邪褉写邪谐 斜邪泄褋邪薪 斜邪泄褏. 携胁卸2 蟹芯胁谢芯薪, 邪谢写邪邪 斜褝褉褏褕褝褝谢褝褝褋 谢 褋褝褌谐褝谢 斜邪褟卸懈卸 懈谢爷爷 写褝谢谐褝褉褝褏 斜芯谢芯屑卸 谐邪褉写邪谐. 袗邪 谐褝褏写褝褝 斜邪褋 蟹芯胁谢芯薪 蟹爷写谐爷爷褉懈泄谐 邪褕懈谐谢邪褏 斜褍褟薪谐爷泄 褏爷薪 褔 谐褝卸 斜邪褋 斜邪泄写邪谐 褞屑 褕懈谐 斜邪泄谐邪邪 褞屑. 袟邪蟹邪 懈薪谐褝褝写 谢 褏邪写褍褍褉褔懈褏写邪谐 褞屑. 校薪褕懈褏褘谐 褋邪薪邪谢 斜芯谢谐芯薪芯 芯芯. :)
"袗褟谢邪谢 褏褝褉 邪褞褍谢谐爷泄 斜邪泄褏 薪褜 褌褍褏邪泄薪 褏爷薪懈泄 写芯褌芯芯写 褋褝褌谐褝谢褝褝褋 谢 褏邪屑邪邪褉薪邪."
"袗褟谢邪谢 褏褝褉 邪褞褍谢谐爷泄 斜邪泄褏 薪褜 褌褍褏邪泄薪 褏爷薪懈泄 写芯褌芯芯写 褋褝褌谐褝谢褝褝褋 谢 褏邪屑邪邪褉薪邪."
July 20, 2024
Chcia艂bym m贸c (kropka, hehe) powiedzie膰, 偶e da艂bym wszystko, by mie膰 te ksi膮偶k臋 na swojej p贸艂ce, ale to nieprawda. Istnieje pewna granica. Ot贸偶 pomimo mojej niesko艅czonej adoracji dla tej ksi膮偶ki, nie zap艂aci艂bym za ni膮 . Chryste, to najdro偶sza ksi膮偶ka, jak膮 widzia艂em w swoim 偶yciu! Po pierwsze, czemu nikt normalny (Instytut Kultury Polskiej nie jest normalny 鈥� sp贸jrzcie na ich ceny!) tego nie wydaje? Po drugie, czemu tego nie ma tego w 偶adnej bibliotece? W Warszawie, w Pary偶u P贸艂nocy mili Pa艅stwo, Dzienniki Tarkowskiego odnale藕膰 mo偶na wy艂膮cznie w pewnej kamienicy na Starym Mie艣cie. By艂em tam. Za艂o偶y艂em kart臋 biblioteczn膮, a tu klops: pozycja dost臋pna tylko w czytelni. No dobrze, pofatygowa艂em si臋 na najwy偶sze pi臋tro. Przeczyta艂em kilkadzie艣cia pierwszych stron, lecz gdy bibliotekarka zwr贸ci艂a mi uwag臋, 偶e nie wolno podkre艣la膰, wyszed艂em (bez pretensji do bibliotekarki). Jak mam nie podkre艣la膰, skoro w tej ksi膮偶ce prawie wszystko jest to podkre艣lania? Ugh. P贸藕niej duma艂em nad sprowadzeniem tej ksi膮偶ki z zagranicy, co wci膮偶 wysz艂oby taniej ni偶 zakup w Polsce, niemniej uzna艂em, 偶e je艣li ju偶 posi膮艣膰 t臋 ksi膮偶k臋, by m贸c czyta膰 z niej urywki tak jak niekt贸rzy czytaj膮 urywki Pisma 艢wi臋tego, to tylko po polsku. Koniec ko艅c贸w przeczyta艂em nielegalnie pobrane angielskie t艂umaczenie na czytniku. Polski rynek wydawniczy ssie. Nie pozostaje mi nic innego jak liczy膰, 偶e za艂o偶臋 kiedy艣 co艣kolwiek ruchliwy kana艂 youtube'owy po艣wi臋cony literaturze i Instytut Kultury Polskiej sam zafunduje mi egzemplarz. Jeszcze im to wyjdzie bokiem, owo windowanie cen, ach!
Co za rewelacyjna ksi膮偶ka. Tak jak powiedzia艂em, m贸g艂bym co chwila cytowa膰 kt贸ry艣 ust臋p. O, mo偶e nawet tak zrobi臋, co by da膰 do zrozumienia, o czym pisa艂 Tarkowski w porze poobiedniej:
My艣l臋, 偶e starczy. Gdybym mia艂 spisa膰 wszystko, nie starczy艂oby mi 偶ycia na nic innego. M膮drej glowie do艣膰 dwie s艂owie, a ja ju偶 dawno przesadzi艂em. Jak wida膰, Dzienniki Tarkowskiego s膮 mi臋dzy innymi o samotno艣ci, braku uznania, powinno艣ciach artystycznych, osobistych animozjach, zamiarach, nowych pomys艂ach. . . Mnie to kr臋ci, bo raz, 偶e sam tworz臋, to dwa, mam bardzo wysok膮 opini臋 o Tarkowskim i mo偶liwo艣膰 poznania kogo艣 tak przeze mnie podziwianego nawet troszk臋 mniej powierzchownie ni偶 przedtem jest wystarczaj膮cym powodem do przeczytania jego 顿锄颈别苍苍颈办贸飞. Poza tym, co ju偶 zawsze b臋dzie mnie zdumiewa膰, wszyscy moi ulubieni autorzy pisz膮 o tym samym. Niekt贸re z tych powy偶szych my艣li wyrazili ju偶 w czytanych przeze mnie ksi膮偶kach Jan Parandowski, Jos茅 Ortega y Gasset, David Bowie. . . Nie wiem czy nie ma tam nawet echa s艂贸w Aleksandra Wata. To sprawia, 偶e m贸j 艣wiat wewn臋trzny zacie艣nia si臋, wi臋zy mi臋dzy jego poszczeg贸lnymi obszarami staj膮 si臋 coraz silniejsze, a w efekcie ja sam czuj臋 si臋 pe艂niejszy. Witaj, Tarkowski, witaj w moim 艣wiecie, prosz臋, t臋dy do 艣rodka.
Wczoraj w nocy ogl膮da艂em na chybi艂 trafi艂 wybrane etiudy filmowe z AMA Film Academy (nie pytajcie). Znalaz艂em tam prawdziwe pere艂ki, na przyk艂ad (pop艂aka艂em si臋 przed trzeci膮 minut膮) lub (ko艅c贸wka s艂aba, ale estetyka przez wi臋ksz膮 cz臋艣膰 jest naprawd臋 przepi臋kna). Nie ukrywam, niekt贸re z etiud by艂y roz艣mieszaj膮co nienaturalne w uj臋ciach albo po prostu b艂ahe fabularnie, jednak nie s膮dz臋, aby to anulowa艂o moje stanowisko: prosz臋 spojrze膰, do tego zdolni s膮 ludzie, kiedy tylko damy im szans臋 rozwija膰 si臋, realizowa膰. Szczerze wierz臋, 偶e po艣r贸d tych tw贸rc贸w etiud filmowych, kt贸rzy ju偶 nigdy niczego nie nakr臋c膮 (bo nie dostan膮 pozwolenia ani finansowania) jest indywidualno艣膰 wielka niczym Tarkowskiego. Mo偶e nawet dwie. Niestety, bardzo rzadko si臋 zdarza, aby kto艣 taki (nawet nie umiem powiedzie膰 jaki, przepraszam) urzeczywistni艂 si臋. Dlatego cieszmy si臋 cho膰by z Tarkowskiego, bo jemu jednemu tak jakby si臋 uda艂o. Pisz臋 tak jakby, bo wczoraj (to by艂 d艂ugi wiecz贸r) ogl膮da艂em tak偶e dokument Witold Lutos艂awski w rozmowie z Krzysztofem Zanussim* i pierwsze trzy minuty tego偶 dokumentu nie pozwalaj膮 mi nie przypu艣ci膰, 偶e wi臋kszo艣膰 Rosjan nawet nie wie, kim by艂 Andriej Tarkowski.
*Krzysztof Zanussi ma bardzo seksowny akcent angielski.
Co za rewelacyjna ksi膮偶ka. Tak jak powiedzia艂em, m贸g艂bym co chwila cytowa膰 kt贸ry艣 ust臋p. O, mo偶e nawet tak zrobi臋, co by da膰 do zrozumienia, o czym pisa艂 Tarkowski w porze poobiedniej:
My艣l臋, 偶e starczy. Gdybym mia艂 spisa膰 wszystko, nie starczy艂oby mi 偶ycia na nic innego. M膮drej glowie do艣膰 dwie s艂owie, a ja ju偶 dawno przesadzi艂em. Jak wida膰, Dzienniki Tarkowskiego s膮 mi臋dzy innymi o samotno艣ci, braku uznania, powinno艣ciach artystycznych, osobistych animozjach, zamiarach, nowych pomys艂ach. . . Mnie to kr臋ci, bo raz, 偶e sam tworz臋, to dwa, mam bardzo wysok膮 opini臋 o Tarkowskim i mo偶liwo艣膰 poznania kogo艣 tak przeze mnie podziwianego nawet troszk臋 mniej powierzchownie ni偶 przedtem jest wystarczaj膮cym powodem do przeczytania jego 顿锄颈别苍苍颈办贸飞. Poza tym, co ju偶 zawsze b臋dzie mnie zdumiewa膰, wszyscy moi ulubieni autorzy pisz膮 o tym samym. Niekt贸re z tych powy偶szych my艣li wyrazili ju偶 w czytanych przeze mnie ksi膮偶kach Jan Parandowski, Jos茅 Ortega y Gasset, David Bowie. . . Nie wiem czy nie ma tam nawet echa s艂贸w Aleksandra Wata. To sprawia, 偶e m贸j 艣wiat wewn臋trzny zacie艣nia si臋, wi臋zy mi臋dzy jego poszczeg贸lnymi obszarami staj膮 si臋 coraz silniejsze, a w efekcie ja sam czuj臋 si臋 pe艂niejszy. Witaj, Tarkowski, witaj w moim 艣wiecie, prosz臋, t臋dy do 艣rodka.
Wczoraj w nocy ogl膮da艂em na chybi艂 trafi艂 wybrane etiudy filmowe z AMA Film Academy (nie pytajcie). Znalaz艂em tam prawdziwe pere艂ki, na przyk艂ad (pop艂aka艂em si臋 przed trzeci膮 minut膮) lub (ko艅c贸wka s艂aba, ale estetyka przez wi臋ksz膮 cz臋艣膰 jest naprawd臋 przepi臋kna). Nie ukrywam, niekt贸re z etiud by艂y roz艣mieszaj膮co nienaturalne w uj臋ciach albo po prostu b艂ahe fabularnie, jednak nie s膮dz臋, aby to anulowa艂o moje stanowisko: prosz臋 spojrze膰, do tego zdolni s膮 ludzie, kiedy tylko damy im szans臋 rozwija膰 si臋, realizowa膰. Szczerze wierz臋, 偶e po艣r贸d tych tw贸rc贸w etiud filmowych, kt贸rzy ju偶 nigdy niczego nie nakr臋c膮 (bo nie dostan膮 pozwolenia ani finansowania) jest indywidualno艣膰 wielka niczym Tarkowskiego. Mo偶e nawet dwie. Niestety, bardzo rzadko si臋 zdarza, aby kto艣 taki (nawet nie umiem powiedzie膰 jaki, przepraszam) urzeczywistni艂 si臋. Dlatego cieszmy si臋 cho膰by z Tarkowskiego, bo jemu jednemu tak jakby si臋 uda艂o. Pisz臋 tak jakby, bo wczoraj (to by艂 d艂ugi wiecz贸r) ogl膮da艂em tak偶e dokument Witold Lutos艂awski w rozmowie z Krzysztofem Zanussim* i pierwsze trzy minuty tego偶 dokumentu nie pozwalaj膮 mi nie przypu艣ci膰, 偶e wi臋kszo艣膰 Rosjan nawet nie wie, kim by艂 Andriej Tarkowski.
*Krzysztof Zanussi ma bardzo seksowny akcent angielski.
October 1, 2016
螒蟺' 蟿伪 伪纬伪蟺畏渭苇谓伪 渭慰蠀 尾喂尾位委伪, 魏伪喂 蟺蠅蟼 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 渭畏谓 蔚委谓伪喂; 螣 韦伪蟻魏蠈蠁蟽魏喂 蔚委谓伪喂 伪纬伪蟺畏渭苇谓慰蟼 蟽魏畏谓慰胃苇蟿畏蟼. 螚 蟺伪蟻伪魏维蟿蠅 蟽畏渭蔚委蠅蟽萎 蟿慰蠀, 蠀蟺维蟻蠂蔚喂 蟺蔚蟻委蟺慰蠀 苇蟿蟽喂 魏伪喂 蟽蟿畏谓 蟿伪喂谓委伪 蟿慰蠀, 危蟿维位魏蔚蟻:
28 螖蔚魏蔚渭尾蟻委慰蠀
螚 伪未蠀谓伪渭委伪 蔚委谓伪喂 未蠉谓伪渭畏, 畏 未蠉谓伪渭畏 蔚委伪喂 蠁蟿蠅蠂萎. 螌蟿伪谓 慰 维谓胃蟻蠅蟺慰蟼 苇蟻蠂蔚蟿伪喂 蟽蟿慰谓 魏蠈蟽渭慰, 蔚委谓伪喂 伪蟺伪位蠈蟼 魏伪喂 蟿蟻蠀蠁蔚蟻蠈蟼. 螒蠁慰蠉 蟺蔚胃维谓蔚喂 纬委谓蔚蟿伪喂 蟽魏位畏蟻蠈蟼 魏伪喂 维魏伪渭蟺蟿慰蟼.
韦伪 渭喂魏蟻维 未苇谓蟿蟻伪 蔚委谓伪喂 位蔚蟺蟿维 魏伪喂 蔚蠀位蠉纬喂蟽蟿伪, 蠋蟽蟺慰蠀 尉蔚蟻伪委谓慰谓蟿伪喂, 蟽魏位畏蟻伪委谓慰蠀谓 魏伪喂 渭伪蟻伪委谓慰谓蟿伪喂. 韦蟻蠀蠁蔚蟻维未伪 蟽畏渭伪委谓蔚喂 味蠅萎, 伪魏伪渭蠄委伪 蟽畏渭伪委谓蔚喂 胃维谓伪蟿慰蟼. 螕喂' 伪蠀蟿蠈 苇谓伪蟼 未蠉蟽魏伪渭蟺蟿慰蟼 蟺维谓蟿慰蟿蔚 魏喂谓未蠀谓蔚蠉蔚喂. 螖苇谓蟿蟻慰 蟺慰蠀 未蔚谓 位蠀纬委味蔚喂, 蟽蟺维蔚喂 蟽蟿慰谓 维谓蔚渭慰. 螣 尾伪蟻蠉蟼 魏伪喂 未蠀谓伪蟿蠈蟼 胃伪 蟺苇蟽蔚喂. 螣 蔚位伪蠁蟻蠉蟼 魏喂 伪未蠉谓伪蟿慰蟼 胃伪 蟽蟿伪胃蔚委.
螞维慰 韦蟽蔚. 螠蠈蟿慰, 蟺慰蠀 蟺蟻慰蟿维蟽蟽蔚喂 慰 螡喂魏慰位维喂 螞蔚蟽魏蠈蠁 蟽蟿慰 未喂萎纬畏渭维 蟿慰蠀 螣 螛伪蠀渭伪蟿慰蟺慰喂蠈蟼 螤伪渭蠁维位蠅谓
28 螖蔚魏蔚渭尾蟻委慰蠀
螚 伪未蠀谓伪渭委伪 蔚委谓伪喂 未蠉谓伪渭畏, 畏 未蠉谓伪渭畏 蔚委伪喂 蠁蟿蠅蠂萎. 螌蟿伪谓 慰 维谓胃蟻蠅蟺慰蟼 苇蟻蠂蔚蟿伪喂 蟽蟿慰谓 魏蠈蟽渭慰, 蔚委谓伪喂 伪蟺伪位蠈蟼 魏伪喂 蟿蟻蠀蠁蔚蟻蠈蟼. 螒蠁慰蠉 蟺蔚胃维谓蔚喂 纬委谓蔚蟿伪喂 蟽魏位畏蟻蠈蟼 魏伪喂 维魏伪渭蟺蟿慰蟼.
韦伪 渭喂魏蟻维 未苇谓蟿蟻伪 蔚委谓伪喂 位蔚蟺蟿维 魏伪喂 蔚蠀位蠉纬喂蟽蟿伪, 蠋蟽蟺慰蠀 尉蔚蟻伪委谓慰谓蟿伪喂, 蟽魏位畏蟻伪委谓慰蠀谓 魏伪喂 渭伪蟻伪委谓慰谓蟿伪喂. 韦蟻蠀蠁蔚蟻维未伪 蟽畏渭伪委谓蔚喂 味蠅萎, 伪魏伪渭蠄委伪 蟽畏渭伪委谓蔚喂 胃维谓伪蟿慰蟼. 螕喂' 伪蠀蟿蠈 苇谓伪蟼 未蠉蟽魏伪渭蟺蟿慰蟼 蟺维谓蟿慰蟿蔚 魏喂谓未蠀谓蔚蠉蔚喂. 螖苇谓蟿蟻慰 蟺慰蠀 未蔚谓 位蠀纬委味蔚喂, 蟽蟺维蔚喂 蟽蟿慰谓 维谓蔚渭慰. 螣 尾伪蟻蠉蟼 魏伪喂 未蠀谓伪蟿蠈蟼 胃伪 蟺苇蟽蔚喂. 螣 蔚位伪蠁蟻蠉蟼 魏喂 伪未蠉谓伪蟿慰蟼 胃伪 蟽蟿伪胃蔚委.
螞维慰 韦蟽蔚. 螠蠈蟿慰, 蟺慰蠀 蟺蟻慰蟿维蟽蟽蔚喂 慰 螡喂魏慰位维喂 螞蔚蟽魏蠈蠁 蟽蟿慰 未喂萎纬畏渭维 蟿慰蠀 螣 螛伪蠀渭伪蟿慰蟺慰喂蠈蟼 螤伪渭蠁维位蠅谓
March 26, 2020
Must read if you're a fan and you wish to learn more about Tarkovsky's views on enlightenment and spirituality. His diaries contain many jewels of wisdom that all artists can apply in their works, as he merges his creative approach with greater existential themes.
August 30, 2009
compelling contemplations of an iconic filmmaker about life, love, and death. He is as poetic and ethereal in his writings as he is in his films.
Read
May 25, 2022"The height of art, based on the universal, on the experience of all knowledge and all discoveries. A spiritual symbol of life." 27
"Last night I had a dream I had died... I felt I had no strength or will, I was only capable of witnessing my own death, my own corpse." 106
"When you feel compassion for yourself in, that way, it is as if your pain were someone else's, and you are looking at it from outside, weighing it up, and you are beyond the bounds of what used to be your life. It was as if my past life was a child's life, without experience, unprotected. Time ceases to exist, and fear. An awareness of immortality." 106
"It is natural for a person not to think about death. But why does he not believe in immortality?" 162
"All that I am left with is faith and hope... against all common sense." 175
"'...Lord, master of my life, take away from me the spirit of idleness, despondency, arrogance, empty talk-grant me the spirit of chastity, humility, forebearance and love...'- Prayer." 239
"The one thing capable of resisting the universal destruction is love...and beauty. I believe that only love can save the world. Without it, all will be lost. It is already happening." 295
"Everything in this life is terrible, apart from the freedom of will we possess. Once we are united with God we shall no longer be able to exercise it, it will have been taken away from us." 296
"(Art) is a religious necessity for the spirit...- Andrey Bely" 302
"Frailty and helplessness. (Yet he spent his whole life 'ploughing' in the name of an ideal!)" 304
"For in much wisdom is much grief; and he that increaseth knowledge increaseth sorrow.- Ecclesiastes." 308
"Freedom is being able to respect a sense of dignity in yourself and in others." 319
"Our knowledge is like sweat, or fumes, it's a function of the organism inseparable from existence, and has nothing whatever to do with Truth." 322
"Truth does not exist in itself; it lies in the method. It is-the way. The way." 329
"The best way is to avoid people who are not like you are who are preoccupied with other desires.- Seneca, Letter XXXII." 332
"'Do not suggest or teach to anyone else anything that you have not already done yourself.- St Anthony, in Lives of the Father." 341
"I was young and full of hope, the sun was shining, there was the sound of the sea. the cries of the seagulls...It was a long time ago. I don't even remember who was with me in the south, or exactly when or where it was." 365
"Where artistic work is concerned, timetable considerations don't enter into it." 381
"Yesterday I went out for a walk, and was suddenly overcome with an inexplicable urge; I took my shoes off and walked barefoot on the cold earth." 391
"But now I have no strength left for anything-that is the problem." 393
"Last night I had a dream I had died... I felt I had no strength or will, I was only capable of witnessing my own death, my own corpse." 106
"When you feel compassion for yourself in, that way, it is as if your pain were someone else's, and you are looking at it from outside, weighing it up, and you are beyond the bounds of what used to be your life. It was as if my past life was a child's life, without experience, unprotected. Time ceases to exist, and fear. An awareness of immortality." 106
"It is natural for a person not to think about death. But why does he not believe in immortality?" 162
"All that I am left with is faith and hope... against all common sense." 175
"'...Lord, master of my life, take away from me the spirit of idleness, despondency, arrogance, empty talk-grant me the spirit of chastity, humility, forebearance and love...'- Prayer." 239
"The one thing capable of resisting the universal destruction is love...and beauty. I believe that only love can save the world. Without it, all will be lost. It is already happening." 295
"Everything in this life is terrible, apart from the freedom of will we possess. Once we are united with God we shall no longer be able to exercise it, it will have been taken away from us." 296
"(Art) is a religious necessity for the spirit...- Andrey Bely" 302
"Frailty and helplessness. (Yet he spent his whole life 'ploughing' in the name of an ideal!)" 304
"For in much wisdom is much grief; and he that increaseth knowledge increaseth sorrow.- Ecclesiastes." 308
"Freedom is being able to respect a sense of dignity in yourself and in others." 319
"Our knowledge is like sweat, or fumes, it's a function of the organism inseparable from existence, and has nothing whatever to do with Truth." 322
"Truth does not exist in itself; it lies in the method. It is-the way. The way." 329
"The best way is to avoid people who are not like you are who are preoccupied with other desires.- Seneca, Letter XXXII." 332
"'Do not suggest or teach to anyone else anything that you have not already done yourself.- St Anthony, in Lives of the Father." 341
"I was young and full of hope, the sun was shining, there was the sound of the sea. the cries of the seagulls...It was a long time ago. I don't even remember who was with me in the south, or exactly when or where it was." 365
"Where artistic work is concerned, timetable considerations don't enter into it." 381
"Yesterday I went out for a walk, and was suddenly overcome with an inexplicable urge; I took my shoes off and walked barefoot on the cold earth." 391
"But now I have no strength left for anything-that is the problem." 393
Read
July 4, 2024A really interesting thing to read. Emotionally charged in several ways, not least because you read his declining health and the various projects in outline that he never got to realise.
On a general note, the diary is interesting for the interaction of personal and public history. For instance he will go from his private thoughts on various contracts, and suddenly the very next day you will read that, "Apparently Afghan patriots have said they will terrorize Soviet citizens abroad in retaliation for the Soviet invasion of Afghanistan." (p. 226).
Similarly, the diary is absent of the space between each entry in a day that would have been natural for Tarkovsky himself. In this way, emotionally jarring reading occurs:
Tarkovsky goes from quoting Born, to describing violent repression, and then following this he goes back to quoting some scientists for his personal interest.
The appended material, consisting of interview text, speeches, and personal reflections, are quite enlightening about Tarkovsky's approach to film.
It's worth reading if you like Tarkovsky enough, and I think it still leaves him a rather enigmatic figure, since most of his diaries are rather utilitarian (that is, he uses them up, and, as he mentions himself, throws them out) so we are left with merely handfuls of very interesting, but off-hand, insights.
On a general note, the diary is interesting for the interaction of personal and public history. For instance he will go from his private thoughts on various contracts, and suddenly the very next day you will read that, "Apparently Afghan patriots have said they will terrorize Soviet citizens abroad in retaliation for the Soviet invasion of Afghanistan." (p. 226).
Similarly, the diary is absent of the space between each entry in a day that would have been natural for Tarkovsky himself. In this way, emotionally jarring reading occurs:
'Science has left the question of God completely open. Science is not entitled to judge in this area.'鈥擬ax Born (physicist, Nobel Prize winner).
It's one o'clock in the morning. I heard a racket going on under my windows, and looked out through the shutters: the police were arresting three youths. They laid them down on the cobbles and gave them a bit of a beating (there were three policemen). Then two police vans drove up, followed by another two; and the men were taken away.
It was curious to watch. Like being in the cinema, only true. It
left a nasty taste: fear, mixed with revulsion and hatred . . .
Tarkovsky goes from quoting Born, to describing violent repression, and then following this he goes back to quoting some scientists for his personal interest.
The appended material, consisting of interview text, speeches, and personal reflections, are quite enlightening about Tarkovsky's approach to film.
It's worth reading if you like Tarkovsky enough, and I think it still leaves him a rather enigmatic figure, since most of his diaries are rather utilitarian (that is, he uses them up, and, as he mentions himself, throws them out) so we are left with merely handfuls of very interesting, but off-hand, insights.
September 6, 2023
Inspiring. Reading the thoughts of one of cinema's greatest minds and seeing how he struggles with art, doubt, faith, living in Soviet society, being away from his family, and how to create films in a meaningful way. While it is entertaining to see how disdainful Tarkovsky can be towards other artists and films, there's a real pleasure in being able to sit with his thoughts and reflect on how he viewed the world. If I ever make a film, I'd love to incorporate some of his poetic use of imagery and sound into my work.
July 22, 2020
San谋r谋m sanatla ilgilenmeye devam etti臒im s眉rece (枚m眉rl眉k bir u臒ra艧) Tarkovsky'nin yazd谋臒谋, s枚yledi臒i ve 莽ekti臒i her 艧eyi e艧elemeye devam edece臒im.
August 25, 2022
Hermoso, como sus pel铆culas.
December 15, 2022
Unable to come out of echos of legendary artist.
March 30, 2024
Took well over a year to read as I can only read outside, beaten into submission by the sun. And it's finally been outdoors weather again.
Interesting but not quite what I was expecting. You got glimpses of his philosophy or artistic vision, but the majority of the diary entries revolved around his Italian production purgatory, and before that, his Soviet production purgatory. I guess it is only fitting that we see to what degree his work was hamstrung at best and aborted at worst by his circumstances.
And the fact is the sort of insight I would have liked to read, he wouldn't have written, as it doesn't seem massively in his character. Still worth looking into however.
Interesting but not quite what I was expecting. You got glimpses of his philosophy or artistic vision, but the majority of the diary entries revolved around his Italian production purgatory, and before that, his Soviet production purgatory. I guess it is only fitting that we see to what degree his work was hamstrung at best and aborted at worst by his circumstances.
And the fact is the sort of insight I would have liked to read, he wouldn't have written, as it doesn't seem massively in his character. Still worth looking into however.
May 6, 2023
Andrey Tarkovsky is more than a director or a figure from the world of cinema. He is a man-symbol, an absolutely iconic character from among those about whom legends go and jokes are made up (apart from jokes, they told me a few when I reviewed films about him and shared my impressions on the networks), and fame extends far beyond the Russian-speaking space. The creator of a universal film language, unhurried meditativeness, deliberate slowness, long close-ups of which either respond with the delight of absolute recognition, as I have with Solaris, or make me experience rejection on a physical, physiological level (my "Stalker")
Acquaintance with Tarkovsky's work in the old days was a kind of password, a socio-cultural code, the recognition of which allowed separating many invited from a select few. To review all his films at the age of eighteen, my friend and I were inspired not so much by love of cinema, but by the desire to become part of this circle of elite, as it were. Silly, m-yes, but in my cultural baggage from my youth all Tarkovsky. And I know for sure that I will look at the Mirror again, maybe more than once, "Ivanov's Childhood" probably not, "Andrei Rublev", "Stalker", "Nostalgia", "Sacrifice" will not be reviewed under any circumstances, and I will return to "Solaris" once a year five to ten years.
携 褋胁械褔邪, 褟 褋谐芯褉械谢 薪邪 锌懈褉褍, 褋芯斜械褉懈褌械 屑芯泄 胁芯褋泻 锌芯褍褌褉褍
芦袧芯 胁芯褌 褔械谐芯 褟 写械泄褋褌胁懈褌械谢褜薪芯 褏芯褌械谢 斜褘 鈥� 褝褌芯, 泻芯谐写邪 薪邪褋褌邪薪械褌 褔邪褋 懈 薪邪写芯 斜褍写械褌 芯褌芯褉胁邪褌褜褋褟 懈 锌褉褘谐薪褍褌褜, 锌褉褘谐薪褍褌褜 薪械 薪邪蟹邪写, 薪械 胁薪懈蟹, 邪 胁锌械褉械写, 胁 斜芯谢械械 胁褘褋芯泻芯械禄.
袗薪写褉械泄 孝邪褉泻芯胁褋泻懈泄 斜芯谢褜褕械 褔械屑 褉械卸懈褋褋械褉 懈谢懈 褎懈谐褍褉邪 懈蟹 屑懈褉邪 泻懈薪芯. 袨薪 褔械谢芯胁械泻-褋懈屑胁芯谢, 锌械褉褋芯薪邪卸 邪斜褋芯谢褞褌薪芯 泻褍谢褜褌芯胁褘泄 懈蟹 褔懈褋谢邪 褌械褏, 芯 泻芯屑 褏芯写褟褌 谢械谐械薪写褘 懈 褋芯褔懈薪褟褞褌褋褟 邪薪械泻写芯褌褘 (泻褉芯屑械 褕褍褌芯泻, 薪械褋泻芯谢褜泻芯 屑薪械 褉邪褋褋泻邪蟹邪谢懈, 泻芯谐写邪 泻 褋褌邪褌褜械 芯 薪械屑 锌械褉械褋屑邪褌褉懈胁邪谢邪 褎懈谢褜屑褘 懈 写械谢懈谢邪褋褜 胁 褋械褌褟褏 胁锌械褔邪褌谢械薪懈褟屑懈), 邪 懈蟹胁械褋褌薪芯褋褌褜 锌褉芯褋褌懈褉邪械褌褋褟 写邪谢械泻芯 蟹邪 锌褉械写械谢褘 褉褍褋褋泻芯褟蟹褘褔薪芯谐芯 锌褉芯褋褌褉邪薪褋褌胁邪. 小芯蟹写邪褌械谢褜 褍薪懈胁械褉褋邪谢褜薪芯谐芯 泻懈薪芯褟蟹褘泻邪, 薪械褋锌械褕薪邪褟 屑械写懈褌邪褌懈胁薪芯褋褌褜, 薪邪褉芯褔懈褌邪褟 屑械写谢懈褌械谢褜薪芯褋褌褜, 写芯谢谐懈械 泻褉褍锌薪褘械 锌谢邪薪褘 泻芯褌芯褉芯谐芯 谢懈斜芯 芯褌蟹褘胁邪褞褌褋褟 胁芯褋褌芯褉谐芯屑 邪斜褋芯谢褞褌薪芯谐芯 褍蟹薪邪胁邪薪懈褟, 泻邪泻 褍 屑械薪褟 褋 "小芯谢褟褉懈褋芯屑", 谢懈斜芯 蟹邪褋褌邪胁谢褟褞褌 锌械褉械卸懈胁邪褌褜 芯褌褌芯褉卸械薪懈械 薪邪 褎懈蟹懈褔械褋泻芯屑, 褎懈蟹懈芯谢芯谐懈褔械褋泻芯屑 褍褉芯胁薪械 (屑芯泄 "小褌邪谢泻械褉")
袟薪邪泻芯屑褋褌胁芯 褋 褌胁芯褉褔械褋褌胁芯屑 孝邪褉泻芯胁褋泻芯谐芯 胁 锌褉械卸薪懈械 胁褉械屑械薪邪 斜褘谢芯 褋胁芯械谐芯 褉芯写邪 锌邪褉芯谢械屑, 褋芯褑懈芯泻褍谢褜褌褍褉薪褘屑 泻芯写芯屑, 褍蟹薪邪胁邪薪懈械 泻芯褌芯褉芯谐芯 锌芯蟹胁芯谢褟谢芯 芯褌写械谢褟褌褜 屑薪芯谐懈褏 蟹胁邪薪褘褏 芯褌 薪械屑薪芯谐懈褏 懈蟹斜褉邪薪薪褘褏. 袩械褉械褋屑芯褌褉械褌褜 谢械褌 胁 胁芯褋械屑薪邪写褑邪褌褜 胁褋械 械谐芯 褎懈谢褜屑褘 薪邪褋 褋 锌芯写褉褍谐芯泄 褋锌芯写胁懈谐谢邪 薪械 褋褌芯谢褜泻芯 谢褞斜芯胁褜 泻 泻懈薪芯, 褋泻芯谢褜泻芯 卸械谢邪薪懈械 褋褌邪褌褜 褔邪褋褌褜褞 褝褌芯谐芯 泻褉褍谐邪 泻邪泻-斜褘 褝谢懈褌褘. 袚谢褍锌械薪褜泻懈械, 屑-写邪, 芯写薪邪泻芯 蟹邪褌芯 胁 屑芯械屑 泻褍谢褜褌褍褉薪芯屑 斜邪谐邪卸械 褋 褞薪芯褋褌懈 胁械褋褜 孝邪褉泻芯胁褋泻懈泄. 袠 褟 褋芯胁械褉褕械薪薪芯 褌芯褔薪芯 蟹薪邪褞, 褔褌芯 "袟械褉泻邪谢芯" 锌芯褋屑芯褌褉褞 褋薪芯胁邪, 屑芯卸械褌 斜褘褌褜 薪械 芯写懈薪 褉邪蟹, "袠胁邪薪芯胁芯 写械褌褋褌胁芯" 褋泻芯褉械械 胁褋械谐芯 薪械褌, "袗薪写褉械褟 袪褍斜谢械胁邪", "小褌邪谢泻械褉邪", "袧芯褋褌邪谢褜谐懈懈", "袞械褉褌胁芯锌褉懈薪芯褕械薪懈褟" 薪械 斜褍写褍 锌械褉械褋屑邪褌褉懈胁邪褌褜 薪懈 锌褉懈 泻邪泻懈褏 褍褋谢芯胁懈褟褏, 邪 泻 "小芯谢褟褉懈褋褍" 褋褌邪薪褍 胁芯蟹胁褉邪褖邪褌褜褋褟 褉邪蟹 胁 锌褟褌褜-写械褋褟褌褜 谢械褌.
袣芯谐写邪 懈谐褉芯胁褘屑 蟹邪写邪薪懈械屑 胁褘锌邪谢 "袦邪褉褌懈褉芯谢芯谐", 锌褉懈蟹薪邪褞褋褜 - 斜褘谢 褋芯斜谢邪蟹薪 薪邪锌懈褋邪褌褜 褔褌芯-薪懈斜褍写褜 , 薪械 褔懈褌邪褟, 褌械屑 斜芯谢械械, 褔褌芯 芯 谐械褉芯械 蟹薪邪褞 写芯胁芯谢褜薪芯 屑薪芯谐芯, 邪 胁 袛芯谢谐芯泄 锌褉芯谐褍谢泻械 屑芯懈 褉械褑械薪蟹懈懈 薪懈泻芯谐写邪 褏芯褉芯褕芯 薪械 芯褑械薪懈胁邪褞褌褋褟. 袧芯 屑褘 写械谢邪械屑 褔褌芯-褌芯 薪械 蟹邪 芯褑械薪泻懈, 薪械 懈蟹 褋芯芯斜褉邪卸械薪懈泄 屑邪褌械褉懈邪谢褜薪芯泄 胁褘谐芯写褘, 懈 写邪卸械 薪械 褉邪写懈 褋芯褑懈邪谢褜薪芯谐芯 褉械泄褌懈薪谐邪, 邪 锌褉芯褋褌芯 锌芯褌芯屑褍, 褔褌芯 薪械 屑芯卸械屑 薪械 写械谢邪褌褜. 孝邪泻 泻邪泻芯泄 褋屑褘褋谢 褏邪谢褌褍褉懈褌褜? 袠 谐谢邪胁薪芯械, 薪邪褔邪胁 褔懈褌邪褌褜, 褍卸械 薪械 屑芯谐谢邪 锌褉械泻褉邪褌懈褌褜, 锌芯泻邪 薪械 写芯褕谢邪 写芯 泻芯薪褑邪, 褏芯褌褟 芯斜褘褔薪芯 屑芯械屑褍, 胁 褑械谢芯屑 斜芯谢械械 褉邪写芯褋褌薪芯屑褍 屑懈褉芯胁芯褋锌褉懈褟褌懈褞, 褋褌褉邪写邪褌械谢褜薪褘泄 蟹邪谢芯谐 薪械 褌芯, 褔褌芯斜褘 锌芯锌邪写邪械褌 胁 褉械蟹芯薪邪薪褋. 袩芯褔械屑褍 褋褌褉邪写邪褌械谢褜薪褘泄? 袩芯褌芯屑褍 褔褌芯 薪邪懈斜芯谢械械 褍锌芯褌褉械斜懈褌械谢褜薪芯械 蟹薪邪褔械薪懈械 写谢褟 屑邪褉褌懈褉芯谢芯谐邪 "锌械褉械褔械薪褜 褋褌褉邪写邪薪懈泄 懈 屑褍泻, 泻芯褌芯褉褘屑 薪械泻褌芯 锌芯写胁械褉谐邪谢褋褟"
袠褌邪泻, "袦邪褉褌懈褉芯谢芯谐", 写薪械胁薪懈泻懈 褉械卸懈褋褋械褉邪, 褋械屑褜 褌械褌褉邪写械泄, 薪邪褔邪褌褘褏 胁 1970, 蟹邪泻芯薪褔械薪薪褘褏 褋芯 褋屑械褉褌褜褞 胁 1986, 泻褍写邪 蟹邪锌懈褋褘胁邪谢 胁褋械 锌芯写褉褟写: 芯褌 斜褘褌芯胁褘褏 蟹邪屑械褌芯泻 懈 "薪邪锌芯屑懈薪邪谢芯泻" 芯 写芯谢谐邪褏 懈 薪械芯斜褏芯写懈屑褘褏 锌芯泻褍锌泻邪褏 写芯 褋芯芯斜褉邪卸械薪懈泄, 泻邪褋邪褞褖懈褏褋褟 褋褗械屑芯褔薪芯谐芯 锌褉芯褑械褋褋邪, 褏邪褉邪泻褌械褉懈褋褌懈泻 蟹薪邪泻芯屑褘褏, 写褉褍蟹械泄 懈 胁褉邪谐芯胁, 胁锌械褔邪褌谢械薪懈泄 芯 锌褉芯褔懈褌邪薪薪褘褏 泻薪懈谐邪褏, 褎懈谢芯褋芯褎褋泻懈褏 褑懈褌邪褌, 褋褌懈褏芯胁. 孝芯褌 褋谢褍褔邪泄, 泻芯谐写邪 斜褍泻胁邪谢褜薪芯械 蟹薪邪褔械薪懈械 蟹邪谐谢邪胁懈褟 - "褋胁懈写械褌械谢褜褋褌胁芯" 写芯屑懈薪懈褉褍械褌 薪邪写 芯斜褖械褍锌芯褌褉械斜懈褌械谢褜薪褘屑 屑懈谢褜芯薪芯屑 褌械褉蟹邪薪懈泄, 褏芯褌褟 懈 薪械 芯褌屑械薪褟械褌 械谐芯 锌芯谢薪芯褋褌褜褞. 袗薪写褉械泄 袗褉褋械薪褜械胁懈褔 斜褘谢 胁 锌械褉胁褍褞 芯褔械褉械写褜 褌胁芯褉褑芯屑, 邪 褌胁芯褉褔械褋褌胁芯 胁械谢懈褔邪泄褕懈泄 懈褋褌芯褔薪懈泻 褉邪写芯褋褌懈.
啸褉芯薪芯谢芯谐懈褔械褋泻懈 芯褌薪芯褋懈褌械谢褜薪芯 褌胁芯褉褔械褋泻芯谐芯 薪邪褋谢械写懈褟, "袠胁邪薪芯胁芯 写械褌褋褌胁芯" 懈 "袗薪写褉械泄 袪褍斜谢械胁" 褍卸械 褋薪褟褌褘, 蟹胁械蟹写邪 孝邪褉泻芯胁褋泻芯谐芯 泻邪泻 屑邪褋褌械褉邪 邪胁褌芯褉褋泻芯谐芯 泻懈薪芯 褟褉泻芯 胁芯褋褋懈褟谢邪 薪邪 泻懈薪械屑邪褌芯谐褉邪褎懈褔械褋泻芯屑 薪械斜芯褋泻谢芯薪械, 邪 屑懈褉芯胁芯械 锌褉懈蟹薪邪薪懈械 锌芯写褌胁械褉卸写械薪芯 薪邪谐褉邪写邪屑懈 薪邪 袙械薪懈褑懈邪薪褋泻芯屑 懈 袣邪薪薪褋泻芯屑 褎械褋褌懈胁邪谢褟褏, 薪芯 胁 小小小袪 褎懈谢褜屑褘 薪械 锌芯泻邪蟹褘胁邪褞褌褋褟 懈谢懈 懈写褍褌 写邪卸械 薪械 胁褌芯褉褘屑 懈 薪械 褌褉械褌褜懈屑, 邪 写械褋褟褌褘屑 褝泻褉邪薪芯屑, 斜械蟹 褉械蟹芯薪邪薪褋邪, 斜械蟹 褉械泻谢邪屑褘, 斜械蟹 褋芯锌褉芯胁芯卸写械薪懈褟 泻褉懈褌懈泻芯泄, 泻芯褌芯褉邪褟 芯斜褗褟褋薪褟谢邪 斜褘, 泻邪泻 褋屑芯褌褉械褌褜 褝褌芯 薪械锌褉芯褋褌芯械 泻懈薪芯, 薪邪 褔褌芯 芯斜褉邪褌懈褌褜 芯褋芯斜芯械 胁薪懈屑邪薪懈械, 泻 泻邪泻芯屑褍 屑懈褎芯谢芯谐懈褔械褋泻芯屑褍 褋褞卸械褌褍 芯褌褋褘谢邪械褌 褌芯褌 懈谢懈 懈薪芯泄 褝锌懈蟹芯写. 袧邪褔邪谢芯 "袦邪褉褌懈褉芯谢芯谐邪" 褋芯胁锌邪写邪械褌 褋 薪邪褔邪谢芯屑 褉邪斜芯褌褘 薪邪写 "小芯谢褟褉懈褋芯屑". 袦薪芯谐芯 褋芯屑薪械薪懈泄 芯褌薪芯褋懈褌械谢褜薪芯 邪泻褌褉懈褋褘 薪邪 褉芯谢褜 啸邪褉懈, 泻芯褌芯褉褍褞 胁 懈褌芯谐械 斜谢懈褋褌邪褌械谢褜薪芯 褋褘谐褉邪谢邪 袧邪褌邪谢褜褟 袘芯薪写邪褉褔褍泻 (锌芯蟹卸械 芯薪邪 褍写芯褋褌芯懈褌褋褟 泻芯薪褋褌邪褌邪褑懈懈 "袧邪褌邪褕邪 胁褋械褏 锌械褉械懈谐褉邪谢邪", 邪 械褖械 锌芯蟹卸械 褏邪褉邪泻褌械褉懈褋褌懈泻懈 "泻邪泻邪褟 卸械 袧.袘芯薪写邪褉褔褍泻 褉械写泻邪褟 写褍褉邪").
袦薪芯谐芯 锌械褉械卸懈胁邪薪懈泄, 褋胁褟蟹邪薪薪褘褏 褋 褋芯谐谢邪褋芯胁邪薪懈械屑 锌芯械蟹写泻懈 胁 携锌芯薪懈褞 写谢褟 褌芯泻懈泄褋泻懈褏 褋褗械屑芯泻 谐芯褉芯写邪 斜褍写褍褖械谐芯.小薪邪褔邪谢邪 写芯谢谐芯 薪械 褍褌胁械褉卸写邪褞褌 泻芯屑邪薪写懈褉芯胁泻褍, 锌芯褌芯屑 褋褉械蟹邪褞褌 褎懈薪邪薪褋懈褉芯胁邪薪懈械, 邪 褋褍褌芯褔薪褘械 褋芯泻褉邪褖邪褞褌 写芯 泻邪泻懈褏-褌芯 薪械褋褍褉邪蟹薪芯-褍薪懈蟹懈褌械谢褜薪褘褏 谐褉芯褕械泄. 袙芯蟹胁褉邪褖械薪懈械 芯褌褌褍写邪 褋芯胁械褉褕械薪薪芯 斜芯谢褜薪褘屑 懈 褉邪蟹斜懈褌褘屑. 袙芯芯斜褖械, 褝褌芯 褋芯褋褌芯褟薪懈械 褔邪褖械 胁褋械谐芯 褋芯锌褉芯胁芯卸写邪械褌 袗.袗., 斜褍写褜 褌芯 薪邪褌褍褉薪褘械 褋褗械屑泻懈 褋 胁褘械蟹写芯屑 胁 写褉褍谐懈械 褉械谐懈芯薪褘 小芯胁械褌褋泻芯谐芯 小芯褞蟹邪 懈谢懈 褉械写褔邪泄褕懈械 蟹邪谐褉邪薪泻芯屑邪薪写懈褉芯胁泻懈. 孝邪褉泻芯胁褋泻懈泄 褋芯胁械褉褕械薪薪芯 褌芯褔薪芯 薪械 懈蟹 褌械褏, 泻褌芯 胁褘斜懈胁邪谢 "蟹邪谐褉邪薪懈褑褍", 褔褌芯斜褘 锌褉懈斜邪褉邪褏谢懈褌褜褋褟 懈 褍褉胁邪褌褜 卸懈蟹薪械薪薪褘褏 斜谢邪谐 泻邪泻懈屑-薪懈斜褍写褜 懈薪褘屑 褋锌芯褋芯斜芯屑.
袣邪泻邪褟-褌芯 褉械写泻邪褟 卸懈褌械泄褋泻邪褟 薪械锌褉懈褋锌芯褋芯斜谢械薪薪芯褋褌褜, 芯褌褋褍褌褋褌胁懈械 屑械谢泻懈褏 胁芯谢芯褋薪褘褏 泻芯褉薪械泄, 褋胁褟蟹褘胁邪褞褖懈褏 褔械谢芯胁械泻邪 褋 褉械邪谢褜薪芯褋褌褜褞. 小芯胁械褌褋泻邪褟 写械泄褋褌胁懈褌械谢褜薪芯褋褌褜, 胁 泻芯褌芯褉芯泄 锌芯锌邪写邪薪懈械 胁 泻懈薪芯 芯斜械褋锌械褔懈胁邪谢芯 薪械屑褘褋谢懈屑芯械, 胁 褋褉邪胁薪械薪懈懈 褋芯 褋褉械写薪械褋褌邪褌懈褋褌懈褔械褋泻懈屑, 斜谢邪谐芯褋芯褋褌芯褟薪懈械, 褋谢芯胁薪芯 薪械 褉芯写薪邪褟 屑邪褌褜 械屑褍, 邪 屑邪褔械褏邪. 袨薪 褉械卸懈褋褋械褉, 邪 褋褌邪谢芯 斜褘褌褜 褉褍谢懈褌 锌褉芯褑械褋褋芯屑; 懈蟹胁械褋褌薪芯, 褔褌芯 锌芯写 锌褉械写谢芯谐芯屑 褋芯蟹写邪薪懈褟 写械泻芯褉邪褑懈泄 写谢褟 薪邪褌褍褉薪褘褏 褋褗械屑芯泻 锌芯褋褉械写褋褌胁械薪薪褘械 泻懈薪芯写械褟褌械谢懈 褌胁芯褉懈谢懈 胁 薪褍卸薪褘褏 泻胁邪褉褌懈褉邪褏 褉械屑芯薪褌 懈 芯斜褋褌邪薪芯胁泻褍, 褝褌芯 褍卸 薪械 谐芯胁芯褉褟 芯斜 芯褌谢懈褔薪褘褏 蟹邪褉锌谢邪褌邪褏 懈 谐芯薪芯褉邪褉邪褏 蟹邪 褋褑械薪邪褉懈懈. 袧芯 褍 薪械谐芯 写械薪褜谐懈 锌褉芯褏芯写褟褌 褋泻胁芯蟹褜 锌邪谢褜褑褘, 褍褌械泻邪褟 胁芯写芯泄 胁 锌械褋芯泻. 袙械褔薪褘械 写芯谢谐懈 懈 薪械褏胁邪褌泻邪 褉械褋褍褉褋邪, 写芯屑 胁 袦褟褋薪芯屑, 褌褉械斜褍械褌 斜械褋泻芯薪械褔薪褘褏 写芯写械谢芯泻, 写邪 褌邪泻 懈 薪械 写芯胁械写械薪 写芯 褍屑邪 蟹邪 写芯谢谐懈械 谐芯写褘 - 薪褘薪褔械 泻芯屑锌邪薪懈懈-蟹邪褋褌褉芯泄褖懈泻懈 胁芯蟹胁芯写褟褌 薪邪 锌褍褋褌芯屑 屑械褋褌械 褑械谢褘械 泻芯褌褌械写卸薪褘械 锌芯褋械谢泻懈 褋芯 胁褋械屑懈 泻芯屑屑褍薪懈泻邪褑懈褟屑懈 蟹邪 谐芯写-写胁邪, 锌褉懈 褌芯屑. 褔褌芯 褌械褏薪芯谢芯谐懈懈 胁 芯斜谢邪褋褌懈 褋褌褉芯懈褌械谢褜褋褌胁邪 薪械 芯褋芯斜械薪薪芯 褕邪谐薪褍谢懈 胁锌械褉械写.
"袟械褉泻邪谢芯", 褉邪斜芯褔懈屑 薪邪蟹胁邪薪懈械屑 泻芯褌芯褉芯谐芯 斜褘谢 "袘械谢褘泄, 斜械谢褘泄 写械薪褜", 懈 屑芯褉邪谢褜薪邪褟 写懈谢械屑屑邪 - 泻邪泻 褋泻邪蟹邪褌褜 屑邪屑械, 谐芯谢芯褋 泻芯褌芯褉芯泄 蟹邪锌懈褋褘胁邪谢褋褟 斜械蟹 械械 胁械写芯屑邪, 褔褌芯 蟹邪锌懈褋褜 斜褍写械褌 懈褋锌芯谢褜蟹芯胁邪薪邪 胁 泻邪褉褌懈薪械. 校写懈胁懈褌械谢褜薪芯 褋锌芯泻芯泄薪芯械 褍屑懈褉芯褌胁芯褉械薪薪芯械 褋芯褋褌芯褟薪懈械 胁芯 胁褉械屑褟 褉邪斜芯褌褘 薪邪写 褝褌懈屑 褎懈谢褜屑芯屑. 泻芯褌芯褉褘泄 谢褞斜懈褌 邪斜褋芯谢褞褌薪芯械 斜芯谢褜褕懈薪褋褌胁芯 蟹褉懈褌械谢械泄, 邪 泻褉懈褌懈泻懈 械写懈薪芯写褍褕薪芯 锌褉懈褔懈褋谢褟褞褌 泻 褕械写械胁褉邪屑 屑懈褉芯胁芯谐芯 泻懈薪械屑邪褌芯谐褉邪褎邪 胁 褉邪蟹薪芯谐芯 褉芯写邪 褉械泄褌懈薪谐邪褏, 胁褉芯写械 "100 谢褍褔褕懈褏 褎懈谢褜屑芯胁 锌芯 胁械褉褋懈懈..." 袠薪褌械褉械褋薪芯, 褔褌芯 褉邪斜芯褌邪 薪邪写 "小褌邪谢泻械褉芯屑": 写械褉谐邪薪薪邪褟, 褉胁邪薪邪褟, 胁芯 胁褉械屑褟 泻芯褌芯褉芯泄 斜械褋泻芯薪械褔薪芯 薪邪褏芯写懈谢邪 泻芯褋邪 薪邪 泻邪屑械薪褜, 邪 斜邪蟹芯胁邪褟 胁械褉褋懈褟 褋褑械薪邪褉懈褟 锌芯谢薪芯褋褌褜褞 锌械褉械锌懈褋褘胁邪谢邪褋褜 褌褉懈卸写褘 褌芯谢褜泻芯 芯褎懈褑懈邪谢褜薪芯, 薪械 褋褔懈褌邪褟 褌褘褋褟褔懈 写芯写械谢芯泻 懈 锌械褉械写械谢芯泻 - 褝褌芯褌 锌褉芯褑械褋褋 芯褔械薪褜 屑邪谢芯 芯褌褉邪卸械薪 胁 写薪械胁薪懈泻邪褏.
"袧芯褋褌邪谢褜谐懈懈" 褋 芯褌写械谢褜薪褘屑懈 褝锌懈蟹芯写邪屑懈, 胁褉芯写械 锌褉芯褏芯写邪 褋芯 褋胁械褔芯泄 泻褍写邪 斜芯谢褜褕械. 啸芯褌褟 褏芯卸写械薪懈褟 锌芯 屑褍泻邪屑, 褋胁褟蟹邪薪薪芯谐芯 褋 薪械胁芯蟹屑芯卸薪芯褋褌褜褞 胁褘胁械蟹褌懈 褋械屑褜褞, 胁 褉邪蟹褘 斜芯谢褜褕械. 袧芯 邪斜褋芯谢褞褌薪邪褟 褌械屑邪-褉械泻芯褉写褋屑械薪 锌芯 褔邪褋褌芯褌械 懈 芯斜褗械屑褍 蟹邪锌懈褋械泄 褌芯谐芯 锌械褉懈芯写邪 卸邪谢芯斜褘 袥邪褉懈褋褘 薪邪 斜械蟹写械薪械卸褜械 芯写薪芯胁褉械屑械薪薪芯 褋 械械 卸械 薪邪锌芯屑懈薪邪薪懈褟屑懈 芯 薪械芯斜褏芯写懈屑芯褋褌懈 锌褉懈褋谢邪褌褜 胁懈写械芯褋懈褋褌械屑褍 - 褋芯胁械褌褋泻懈械 褌械谢械胁懈蟹芯褉褘 薪械 懈屑械谢懈 褉邪蟹褗械屑邪 写谢褟 锌芯写泻谢褞褔械薪懈褟 胁懈写械芯屑邪谐薪懈褌芯褎芯薪邪. 袙懈写懈泻懈 锌芯 褌械屑 胁褉械屑械薪邪屑 褌芯谢褜泻芯 锌芯褟胁懈谢懈褋褜, 褋褌芯懈谢懈 斜械蟹褍屑薪芯 写芯褉芯谐芯, 懈 褋芯胁械褉褕械薪薪芯 薪械锌芯薪褟褌薪芯, 写谢褟 褔械谐芯 懈蟹胁芯写懈褌褜 褔械谢芯胁械泻邪 锌褉芯褋褜斜邪屑懈, 械褋谢懈 胁褋械 褉邪胁薪芯 褋芯斜懈褉邪械褕褜褋褟 褍械蟹卸邪褌褜 泻 薪械屑褍. 袨褌褔械谐芯 薪械 蟹邪薪褟褌褜褋褟 锌褉芯写邪卸械泄 写芯屑邪 胁 袦褟褋薪芯屑, 泻芯褌芯褉褘泄 薪邪胁械褉薪褟泻邪 褔械谐芯-褌芯, 写邪 褋褌芯懈谢, 胁屑械褋褌芯 褌芯谐芯, 褔褌芯斜褘 褌械褉蟹邪褌褜 械谐芯 褉邪褋褋泻邪蟹邪屑懈 芯 褌芯褌邪谢褜薪芯屑 斜械蟹写械薪械卸褜械? 啸芯褌褟 褝褌芯 褍卸械 褟 锌芯-斜邪斜褋泻懈, 泻芯薪械褔薪芯, 薪械 褋屑褘褋谢褟 胁 胁褘褋芯泻芯屑.
袦邪谢芯, 锌褉邪泻褌懈褔械褋泻懈 薪懈褔械谐芯 芯 褋褗械屑泻邪褏 "袞械褉褌胁芯锌褉懈薪芯褕械薪懈褟", 薪芯 褌邪屑 褍卸械 锌械褉懈芯写 斜芯褉褜斜褘 褋 褉邪泻芯屑, 懈 褝褌邪 褔邪褋褌褜 写薪械胁薪懈泻芯胁 懈褋锌芯谢薪械薪邪 褌邪泻芯谐芯 褌褉邪谐懈蟹屑邪, 褌邪泻 斜芯谢械蟹薪械薪薪芯 褌褟卸械谢邪, 薪邪褔懈薪邪褟 芯褌 胁懈写械薪懈褟 褋胁芯械谐芯 谢械谐泻芯谐芯 褋 泻褉芯胁芯褌芯褔邪褖械泄 褉邪薪芯泄 胁 褑械薪褌褉械 懈 褋薪邪 芯 楔褍泻褕懈薪械, 褋 泻芯褌芯褉褘屑 懈谐褉邪械褌 胁 泻邪褉褌褘, 邪 锌芯褌芯屑 泻褌芯-褌芯 谐芯胁芯褉懈褌: "袩芯褉邪 褉邪褋锌谢邪褔懈胁邪褌褜褋褟", 写芯 锌褉懈械蟹写邪 褋褘薪邪 袗薪写褉械褟, 屑褍褔懈褌械谢褜薪芯泄 褌械褉邪锌懈懈, 褉械屑懈褋褋懈懈 懈 泻芯薪褑邪. 协褌芯 薪械胁褘薪芯褋懈屑芯 斜芯谢褜薪芯.
芦袙褋械, 褔褌芯 褋斜褘褌褜褋褟 屑芯谐谢芯
袦薪械 泻邪泻 谢懈褋褌 锌褟褌懈锌邪谢褘泄
袩褉褟屑芯 胁 褉褍泻褍 谢械谐谢芯,
孝芯谢褜泻芯 褝褌芯谐芯 屑邪谢芯禄.
袗褉褋械薪懈泄 孝邪褉泻芯胁褋泻懈泄
Acquaintance with Tarkovsky's work in the old days was a kind of password, a socio-cultural code, the recognition of which allowed separating many invited from a select few. To review all his films at the age of eighteen, my friend and I were inspired not so much by love of cinema, but by the desire to become part of this circle of elite, as it were. Silly, m-yes, but in my cultural baggage from my youth all Tarkovsky. And I know for sure that I will look at the Mirror again, maybe more than once, "Ivanov's Childhood" probably not, "Andrei Rublev", "Stalker", "Nostalgia", "Sacrifice" will not be reviewed under any circumstances, and I will return to "Solaris" once a year five to ten years.
携 褋胁械褔邪, 褟 褋谐芯褉械谢 薪邪 锌懈褉褍, 褋芯斜械褉懈褌械 屑芯泄 胁芯褋泻 锌芯褍褌褉褍
芦袧芯 胁芯褌 褔械谐芯 褟 写械泄褋褌胁懈褌械谢褜薪芯 褏芯褌械谢 斜褘 鈥� 褝褌芯, 泻芯谐写邪 薪邪褋褌邪薪械褌 褔邪褋 懈 薪邪写芯 斜褍写械褌 芯褌芯褉胁邪褌褜褋褟 懈 锌褉褘谐薪褍褌褜, 锌褉褘谐薪褍褌褜 薪械 薪邪蟹邪写, 薪械 胁薪懈蟹, 邪 胁锌械褉械写, 胁 斜芯谢械械 胁褘褋芯泻芯械禄.
袗薪写褉械泄 孝邪褉泻芯胁褋泻懈泄 斜芯谢褜褕械 褔械屑 褉械卸懈褋褋械褉 懈谢懈 褎懈谐褍褉邪 懈蟹 屑懈褉邪 泻懈薪芯. 袨薪 褔械谢芯胁械泻-褋懈屑胁芯谢, 锌械褉褋芯薪邪卸 邪斜褋芯谢褞褌薪芯 泻褍谢褜褌芯胁褘泄 懈蟹 褔懈褋谢邪 褌械褏, 芯 泻芯屑 褏芯写褟褌 谢械谐械薪写褘 懈 褋芯褔懈薪褟褞褌褋褟 邪薪械泻写芯褌褘 (泻褉芯屑械 褕褍褌芯泻, 薪械褋泻芯谢褜泻芯 屑薪械 褉邪褋褋泻邪蟹邪谢懈, 泻芯谐写邪 泻 褋褌邪褌褜械 芯 薪械屑 锌械褉械褋屑邪褌褉懈胁邪谢邪 褎懈谢褜屑褘 懈 写械谢懈谢邪褋褜 胁 褋械褌褟褏 胁锌械褔邪褌谢械薪懈褟屑懈), 邪 懈蟹胁械褋褌薪芯褋褌褜 锌褉芯褋褌懈褉邪械褌褋褟 写邪谢械泻芯 蟹邪 锌褉械写械谢褘 褉褍褋褋泻芯褟蟹褘褔薪芯谐芯 锌褉芯褋褌褉邪薪褋褌胁邪. 小芯蟹写邪褌械谢褜 褍薪懈胁械褉褋邪谢褜薪芯谐芯 泻懈薪芯褟蟹褘泻邪, 薪械褋锌械褕薪邪褟 屑械写懈褌邪褌懈胁薪芯褋褌褜, 薪邪褉芯褔懈褌邪褟 屑械写谢懈褌械谢褜薪芯褋褌褜, 写芯谢谐懈械 泻褉褍锌薪褘械 锌谢邪薪褘 泻芯褌芯褉芯谐芯 谢懈斜芯 芯褌蟹褘胁邪褞褌褋褟 胁芯褋褌芯褉谐芯屑 邪斜褋芯谢褞褌薪芯谐芯 褍蟹薪邪胁邪薪懈褟, 泻邪泻 褍 屑械薪褟 褋 "小芯谢褟褉懈褋芯屑", 谢懈斜芯 蟹邪褋褌邪胁谢褟褞褌 锌械褉械卸懈胁邪褌褜 芯褌褌芯褉卸械薪懈械 薪邪 褎懈蟹懈褔械褋泻芯屑, 褎懈蟹懈芯谢芯谐懈褔械褋泻芯屑 褍褉芯胁薪械 (屑芯泄 "小褌邪谢泻械褉")
袟薪邪泻芯屑褋褌胁芯 褋 褌胁芯褉褔械褋褌胁芯屑 孝邪褉泻芯胁褋泻芯谐芯 胁 锌褉械卸薪懈械 胁褉械屑械薪邪 斜褘谢芯 褋胁芯械谐芯 褉芯写邪 锌邪褉芯谢械屑, 褋芯褑懈芯泻褍谢褜褌褍褉薪褘屑 泻芯写芯屑, 褍蟹薪邪胁邪薪懈械 泻芯褌芯褉芯谐芯 锌芯蟹胁芯谢褟谢芯 芯褌写械谢褟褌褜 屑薪芯谐懈褏 蟹胁邪薪褘褏 芯褌 薪械屑薪芯谐懈褏 懈蟹斜褉邪薪薪褘褏. 袩械褉械褋屑芯褌褉械褌褜 谢械褌 胁 胁芯褋械屑薪邪写褑邪褌褜 胁褋械 械谐芯 褎懈谢褜屑褘 薪邪褋 褋 锌芯写褉褍谐芯泄 褋锌芯写胁懈谐谢邪 薪械 褋褌芯谢褜泻芯 谢褞斜芯胁褜 泻 泻懈薪芯, 褋泻芯谢褜泻芯 卸械谢邪薪懈械 褋褌邪褌褜 褔邪褋褌褜褞 褝褌芯谐芯 泻褉褍谐邪 泻邪泻-斜褘 褝谢懈褌褘. 袚谢褍锌械薪褜泻懈械, 屑-写邪, 芯写薪邪泻芯 蟹邪褌芯 胁 屑芯械屑 泻褍谢褜褌褍褉薪芯屑 斜邪谐邪卸械 褋 褞薪芯褋褌懈 胁械褋褜 孝邪褉泻芯胁褋泻懈泄. 袠 褟 褋芯胁械褉褕械薪薪芯 褌芯褔薪芯 蟹薪邪褞, 褔褌芯 "袟械褉泻邪谢芯" 锌芯褋屑芯褌褉褞 褋薪芯胁邪, 屑芯卸械褌 斜褘褌褜 薪械 芯写懈薪 褉邪蟹, "袠胁邪薪芯胁芯 写械褌褋褌胁芯" 褋泻芯褉械械 胁褋械谐芯 薪械褌, "袗薪写褉械褟 袪褍斜谢械胁邪", "小褌邪谢泻械褉邪", "袧芯褋褌邪谢褜谐懈懈", "袞械褉褌胁芯锌褉懈薪芯褕械薪懈褟" 薪械 斜褍写褍 锌械褉械褋屑邪褌褉懈胁邪褌褜 薪懈 锌褉懈 泻邪泻懈褏 褍褋谢芯胁懈褟褏, 邪 泻 "小芯谢褟褉懈褋褍" 褋褌邪薪褍 胁芯蟹胁褉邪褖邪褌褜褋褟 褉邪蟹 胁 锌褟褌褜-写械褋褟褌褜 谢械褌.
袣芯谐写邪 懈谐褉芯胁褘屑 蟹邪写邪薪懈械屑 胁褘锌邪谢 "袦邪褉褌懈褉芯谢芯谐", 锌褉懈蟹薪邪褞褋褜 - 斜褘谢 褋芯斜谢邪蟹薪 薪邪锌懈褋邪褌褜 褔褌芯-薪懈斜褍写褜 , 薪械 褔懈褌邪褟, 褌械屑 斜芯谢械械, 褔褌芯 芯 谐械褉芯械 蟹薪邪褞 写芯胁芯谢褜薪芯 屑薪芯谐芯, 邪 胁 袛芯谢谐芯泄 锌褉芯谐褍谢泻械 屑芯懈 褉械褑械薪蟹懈懈 薪懈泻芯谐写邪 褏芯褉芯褕芯 薪械 芯褑械薪懈胁邪褞褌褋褟. 袧芯 屑褘 写械谢邪械屑 褔褌芯-褌芯 薪械 蟹邪 芯褑械薪泻懈, 薪械 懈蟹 褋芯芯斜褉邪卸械薪懈泄 屑邪褌械褉懈邪谢褜薪芯泄 胁褘谐芯写褘, 懈 写邪卸械 薪械 褉邪写懈 褋芯褑懈邪谢褜薪芯谐芯 褉械泄褌懈薪谐邪, 邪 锌褉芯褋褌芯 锌芯褌芯屑褍, 褔褌芯 薪械 屑芯卸械屑 薪械 写械谢邪褌褜. 孝邪泻 泻邪泻芯泄 褋屑褘褋谢 褏邪谢褌褍褉懈褌褜? 袠 谐谢邪胁薪芯械, 薪邪褔邪胁 褔懈褌邪褌褜, 褍卸械 薪械 屑芯谐谢邪 锌褉械泻褉邪褌懈褌褜, 锌芯泻邪 薪械 写芯褕谢邪 写芯 泻芯薪褑邪, 褏芯褌褟 芯斜褘褔薪芯 屑芯械屑褍, 胁 褑械谢芯屑 斜芯谢械械 褉邪写芯褋褌薪芯屑褍 屑懈褉芯胁芯褋锌褉懈褟褌懈褞, 褋褌褉邪写邪褌械谢褜薪褘泄 蟹邪谢芯谐 薪械 褌芯, 褔褌芯斜褘 锌芯锌邪写邪械褌 胁 褉械蟹芯薪邪薪褋. 袩芯褔械屑褍 褋褌褉邪写邪褌械谢褜薪褘泄? 袩芯褌芯屑褍 褔褌芯 薪邪懈斜芯谢械械 褍锌芯褌褉械斜懈褌械谢褜薪芯械 蟹薪邪褔械薪懈械 写谢褟 屑邪褉褌懈褉芯谢芯谐邪 "锌械褉械褔械薪褜 褋褌褉邪写邪薪懈泄 懈 屑褍泻, 泻芯褌芯褉褘屑 薪械泻褌芯 锌芯写胁械褉谐邪谢褋褟"
袠褌邪泻, "袦邪褉褌懈褉芯谢芯谐", 写薪械胁薪懈泻懈 褉械卸懈褋褋械褉邪, 褋械屑褜 褌械褌褉邪写械泄, 薪邪褔邪褌褘褏 胁 1970, 蟹邪泻芯薪褔械薪薪褘褏 褋芯 褋屑械褉褌褜褞 胁 1986, 泻褍写邪 蟹邪锌懈褋褘胁邪谢 胁褋械 锌芯写褉褟写: 芯褌 斜褘褌芯胁褘褏 蟹邪屑械褌芯泻 懈 "薪邪锌芯屑懈薪邪谢芯泻" 芯 写芯谢谐邪褏 懈 薪械芯斜褏芯写懈屑褘褏 锌芯泻褍锌泻邪褏 写芯 褋芯芯斜褉邪卸械薪懈泄, 泻邪褋邪褞褖懈褏褋褟 褋褗械屑芯褔薪芯谐芯 锌褉芯褑械褋褋邪, 褏邪褉邪泻褌械褉懈褋褌懈泻 蟹薪邪泻芯屑褘褏, 写褉褍蟹械泄 懈 胁褉邪谐芯胁, 胁锌械褔邪褌谢械薪懈泄 芯 锌褉芯褔懈褌邪薪薪褘褏 泻薪懈谐邪褏, 褎懈谢芯褋芯褎褋泻懈褏 褑懈褌邪褌, 褋褌懈褏芯胁. 孝芯褌 褋谢褍褔邪泄, 泻芯谐写邪 斜褍泻胁邪谢褜薪芯械 蟹薪邪褔械薪懈械 蟹邪谐谢邪胁懈褟 - "褋胁懈写械褌械谢褜褋褌胁芯" 写芯屑懈薪懈褉褍械褌 薪邪写 芯斜褖械褍锌芯褌褉械斜懈褌械谢褜薪褘屑 屑懈谢褜芯薪芯屑 褌械褉蟹邪薪懈泄, 褏芯褌褟 懈 薪械 芯褌屑械薪褟械褌 械谐芯 锌芯谢薪芯褋褌褜褞. 袗薪写褉械泄 袗褉褋械薪褜械胁懈褔 斜褘谢 胁 锌械褉胁褍褞 芯褔械褉械写褜 褌胁芯褉褑芯屑, 邪 褌胁芯褉褔械褋褌胁芯 胁械谢懈褔邪泄褕懈泄 懈褋褌芯褔薪懈泻 褉邪写芯褋褌懈.
啸褉芯薪芯谢芯谐懈褔械褋泻懈 芯褌薪芯褋懈褌械谢褜薪芯 褌胁芯褉褔械褋泻芯谐芯 薪邪褋谢械写懈褟, "袠胁邪薪芯胁芯 写械褌褋褌胁芯" 懈 "袗薪写褉械泄 袪褍斜谢械胁" 褍卸械 褋薪褟褌褘, 蟹胁械蟹写邪 孝邪褉泻芯胁褋泻芯谐芯 泻邪泻 屑邪褋褌械褉邪 邪胁褌芯褉褋泻芯谐芯 泻懈薪芯 褟褉泻芯 胁芯褋褋懈褟谢邪 薪邪 泻懈薪械屑邪褌芯谐褉邪褎懈褔械褋泻芯屑 薪械斜芯褋泻谢芯薪械, 邪 屑懈褉芯胁芯械 锌褉懈蟹薪邪薪懈械 锌芯写褌胁械褉卸写械薪芯 薪邪谐褉邪写邪屑懈 薪邪 袙械薪懈褑懈邪薪褋泻芯屑 懈 袣邪薪薪褋泻芯屑 褎械褋褌懈胁邪谢褟褏, 薪芯 胁 小小小袪 褎懈谢褜屑褘 薪械 锌芯泻邪蟹褘胁邪褞褌褋褟 懈谢懈 懈写褍褌 写邪卸械 薪械 胁褌芯褉褘屑 懈 薪械 褌褉械褌褜懈屑, 邪 写械褋褟褌褘屑 褝泻褉邪薪芯屑, 斜械蟹 褉械蟹芯薪邪薪褋邪, 斜械蟹 褉械泻谢邪屑褘, 斜械蟹 褋芯锌褉芯胁芯卸写械薪懈褟 泻褉懈褌懈泻芯泄, 泻芯褌芯褉邪褟 芯斜褗褟褋薪褟谢邪 斜褘, 泻邪泻 褋屑芯褌褉械褌褜 褝褌芯 薪械锌褉芯褋褌芯械 泻懈薪芯, 薪邪 褔褌芯 芯斜褉邪褌懈褌褜 芯褋芯斜芯械 胁薪懈屑邪薪懈械, 泻 泻邪泻芯屑褍 屑懈褎芯谢芯谐懈褔械褋泻芯屑褍 褋褞卸械褌褍 芯褌褋褘谢邪械褌 褌芯褌 懈谢懈 懈薪芯泄 褝锌懈蟹芯写. 袧邪褔邪谢芯 "袦邪褉褌懈褉芯谢芯谐邪" 褋芯胁锌邪写邪械褌 褋 薪邪褔邪谢芯屑 褉邪斜芯褌褘 薪邪写 "小芯谢褟褉懈褋芯屑". 袦薪芯谐芯 褋芯屑薪械薪懈泄 芯褌薪芯褋懈褌械谢褜薪芯 邪泻褌褉懈褋褘 薪邪 褉芯谢褜 啸邪褉懈, 泻芯褌芯褉褍褞 胁 懈褌芯谐械 斜谢懈褋褌邪褌械谢褜薪芯 褋褘谐褉邪谢邪 袧邪褌邪谢褜褟 袘芯薪写邪褉褔褍泻 (锌芯蟹卸械 芯薪邪 褍写芯褋褌芯懈褌褋褟 泻芯薪褋褌邪褌邪褑懈懈 "袧邪褌邪褕邪 胁褋械褏 锌械褉械懈谐褉邪谢邪", 邪 械褖械 锌芯蟹卸械 褏邪褉邪泻褌械褉懈褋褌懈泻懈 "泻邪泻邪褟 卸械 袧.袘芯薪写邪褉褔褍泻 褉械写泻邪褟 写褍褉邪").
袦薪芯谐芯 锌械褉械卸懈胁邪薪懈泄, 褋胁褟蟹邪薪薪褘褏 褋 褋芯谐谢邪褋芯胁邪薪懈械屑 锌芯械蟹写泻懈 胁 携锌芯薪懈褞 写谢褟 褌芯泻懈泄褋泻懈褏 褋褗械屑芯泻 谐芯褉芯写邪 斜褍写褍褖械谐芯.小薪邪褔邪谢邪 写芯谢谐芯 薪械 褍褌胁械褉卸写邪褞褌 泻芯屑邪薪写懈褉芯胁泻褍, 锌芯褌芯屑 褋褉械蟹邪褞褌 褎懈薪邪薪褋懈褉芯胁邪薪懈械, 邪 褋褍褌芯褔薪褘械 褋芯泻褉邪褖邪褞褌 写芯 泻邪泻懈褏-褌芯 薪械褋褍褉邪蟹薪芯-褍薪懈蟹懈褌械谢褜薪褘褏 谐褉芯褕械泄. 袙芯蟹胁褉邪褖械薪懈械 芯褌褌褍写邪 褋芯胁械褉褕械薪薪芯 斜芯谢褜薪褘屑 懈 褉邪蟹斜懈褌褘屑. 袙芯芯斜褖械, 褝褌芯 褋芯褋褌芯褟薪懈械 褔邪褖械 胁褋械谐芯 褋芯锌褉芯胁芯卸写邪械褌 袗.袗., 斜褍写褜 褌芯 薪邪褌褍褉薪褘械 褋褗械屑泻懈 褋 胁褘械蟹写芯屑 胁 写褉褍谐懈械 褉械谐懈芯薪褘 小芯胁械褌褋泻芯谐芯 小芯褞蟹邪 懈谢懈 褉械写褔邪泄褕懈械 蟹邪谐褉邪薪泻芯屑邪薪写懈褉芯胁泻懈. 孝邪褉泻芯胁褋泻懈泄 褋芯胁械褉褕械薪薪芯 褌芯褔薪芯 薪械 懈蟹 褌械褏, 泻褌芯 胁褘斜懈胁邪谢 "蟹邪谐褉邪薪懈褑褍", 褔褌芯斜褘 锌褉懈斜邪褉邪褏谢懈褌褜褋褟 懈 褍褉胁邪褌褜 卸懈蟹薪械薪薪褘褏 斜谢邪谐 泻邪泻懈屑-薪懈斜褍写褜 懈薪褘屑 褋锌芯褋芯斜芯屑.
袣邪泻邪褟-褌芯 褉械写泻邪褟 卸懈褌械泄褋泻邪褟 薪械锌褉懈褋锌芯褋芯斜谢械薪薪芯褋褌褜, 芯褌褋褍褌褋褌胁懈械 屑械谢泻懈褏 胁芯谢芯褋薪褘褏 泻芯褉薪械泄, 褋胁褟蟹褘胁邪褞褖懈褏 褔械谢芯胁械泻邪 褋 褉械邪谢褜薪芯褋褌褜褞. 小芯胁械褌褋泻邪褟 写械泄褋褌胁懈褌械谢褜薪芯褋褌褜, 胁 泻芯褌芯褉芯泄 锌芯锌邪写邪薪懈械 胁 泻懈薪芯 芯斜械褋锌械褔懈胁邪谢芯 薪械屑褘褋谢懈屑芯械, 胁 褋褉邪胁薪械薪懈懈 褋芯 褋褉械写薪械褋褌邪褌懈褋褌懈褔械褋泻懈屑, 斜谢邪谐芯褋芯褋褌芯褟薪懈械, 褋谢芯胁薪芯 薪械 褉芯写薪邪褟 屑邪褌褜 械屑褍, 邪 屑邪褔械褏邪. 袨薪 褉械卸懈褋褋械褉, 邪 褋褌邪谢芯 斜褘褌褜 褉褍谢懈褌 锌褉芯褑械褋褋芯屑; 懈蟹胁械褋褌薪芯, 褔褌芯 锌芯写 锌褉械写谢芯谐芯屑 褋芯蟹写邪薪懈褟 写械泻芯褉邪褑懈泄 写谢褟 薪邪褌褍褉薪褘褏 褋褗械屑芯泻 锌芯褋褉械写褋褌胁械薪薪褘械 泻懈薪芯写械褟褌械谢懈 褌胁芯褉懈谢懈 胁 薪褍卸薪褘褏 泻胁邪褉褌懈褉邪褏 褉械屑芯薪褌 懈 芯斜褋褌邪薪芯胁泻褍, 褝褌芯 褍卸 薪械 谐芯胁芯褉褟 芯斜 芯褌谢懈褔薪褘褏 蟹邪褉锌谢邪褌邪褏 懈 谐芯薪芯褉邪褉邪褏 蟹邪 褋褑械薪邪褉懈懈. 袧芯 褍 薪械谐芯 写械薪褜谐懈 锌褉芯褏芯写褟褌 褋泻胁芯蟹褜 锌邪谢褜褑褘, 褍褌械泻邪褟 胁芯写芯泄 胁 锌械褋芯泻. 袙械褔薪褘械 写芯谢谐懈 懈 薪械褏胁邪褌泻邪 褉械褋褍褉褋邪, 写芯屑 胁 袦褟褋薪芯屑, 褌褉械斜褍械褌 斜械褋泻芯薪械褔薪褘褏 写芯写械谢芯泻, 写邪 褌邪泻 懈 薪械 写芯胁械写械薪 写芯 褍屑邪 蟹邪 写芯谢谐懈械 谐芯写褘 - 薪褘薪褔械 泻芯屑锌邪薪懈懈-蟹邪褋褌褉芯泄褖懈泻懈 胁芯蟹胁芯写褟褌 薪邪 锌褍褋褌芯屑 屑械褋褌械 褑械谢褘械 泻芯褌褌械写卸薪褘械 锌芯褋械谢泻懈 褋芯 胁褋械屑懈 泻芯屑屑褍薪懈泻邪褑懈褟屑懈 蟹邪 谐芯写-写胁邪, 锌褉懈 褌芯屑. 褔褌芯 褌械褏薪芯谢芯谐懈懈 胁 芯斜谢邪褋褌懈 褋褌褉芯懈褌械谢褜褋褌胁邪 薪械 芯褋芯斜械薪薪芯 褕邪谐薪褍谢懈 胁锌械褉械写.
"袟械褉泻邪谢芯", 褉邪斜芯褔懈屑 薪邪蟹胁邪薪懈械屑 泻芯褌芯褉芯谐芯 斜褘谢 "袘械谢褘泄, 斜械谢褘泄 写械薪褜", 懈 屑芯褉邪谢褜薪邪褟 写懈谢械屑屑邪 - 泻邪泻 褋泻邪蟹邪褌褜 屑邪屑械, 谐芯谢芯褋 泻芯褌芯褉芯泄 蟹邪锌懈褋褘胁邪谢褋褟 斜械蟹 械械 胁械写芯屑邪, 褔褌芯 蟹邪锌懈褋褜 斜褍写械褌 懈褋锌芯谢褜蟹芯胁邪薪邪 胁 泻邪褉褌懈薪械. 校写懈胁懈褌械谢褜薪芯 褋锌芯泻芯泄薪芯械 褍屑懈褉芯褌胁芯褉械薪薪芯械 褋芯褋褌芯褟薪懈械 胁芯 胁褉械屑褟 褉邪斜芯褌褘 薪邪写 褝褌懈屑 褎懈谢褜屑芯屑. 泻芯褌芯褉褘泄 谢褞斜懈褌 邪斜褋芯谢褞褌薪芯械 斜芯谢褜褕懈薪褋褌胁芯 蟹褉懈褌械谢械泄, 邪 泻褉懈褌懈泻懈 械写懈薪芯写褍褕薪芯 锌褉懈褔懈褋谢褟褞褌 泻 褕械写械胁褉邪屑 屑懈褉芯胁芯谐芯 泻懈薪械屑邪褌芯谐褉邪褎邪 胁 褉邪蟹薪芯谐芯 褉芯写邪 褉械泄褌懈薪谐邪褏, 胁褉芯写械 "100 谢褍褔褕懈褏 褎懈谢褜屑芯胁 锌芯 胁械褉褋懈懈..." 袠薪褌械褉械褋薪芯, 褔褌芯 褉邪斜芯褌邪 薪邪写 "小褌邪谢泻械褉芯屑": 写械褉谐邪薪薪邪褟, 褉胁邪薪邪褟, 胁芯 胁褉械屑褟 泻芯褌芯褉芯泄 斜械褋泻芯薪械褔薪芯 薪邪褏芯写懈谢邪 泻芯褋邪 薪邪 泻邪屑械薪褜, 邪 斜邪蟹芯胁邪褟 胁械褉褋懈褟 褋褑械薪邪褉懈褟 锌芯谢薪芯褋褌褜褞 锌械褉械锌懈褋褘胁邪谢邪褋褜 褌褉懈卸写褘 褌芯谢褜泻芯 芯褎懈褑懈邪谢褜薪芯, 薪械 褋褔懈褌邪褟 褌褘褋褟褔懈 写芯写械谢芯泻 懈 锌械褉械写械谢芯泻 - 褝褌芯褌 锌褉芯褑械褋褋 芯褔械薪褜 屑邪谢芯 芯褌褉邪卸械薪 胁 写薪械胁薪懈泻邪褏.
"袧芯褋褌邪谢褜谐懈懈" 褋 芯褌写械谢褜薪褘屑懈 褝锌懈蟹芯写邪屑懈, 胁褉芯写械 锌褉芯褏芯写邪 褋芯 褋胁械褔芯泄 泻褍写邪 斜芯谢褜褕械. 啸芯褌褟 褏芯卸写械薪懈褟 锌芯 屑褍泻邪屑, 褋胁褟蟹邪薪薪芯谐芯 褋 薪械胁芯蟹屑芯卸薪芯褋褌褜褞 胁褘胁械蟹褌懈 褋械屑褜褞, 胁 褉邪蟹褘 斜芯谢褜褕械. 袧芯 邪斜褋芯谢褞褌薪邪褟 褌械屑邪-褉械泻芯褉写褋屑械薪 锌芯 褔邪褋褌芯褌械 懈 芯斜褗械屑褍 蟹邪锌懈褋械泄 褌芯谐芯 锌械褉懈芯写邪 卸邪谢芯斜褘 袥邪褉懈褋褘 薪邪 斜械蟹写械薪械卸褜械 芯写薪芯胁褉械屑械薪薪芯 褋 械械 卸械 薪邪锌芯屑懈薪邪薪懈褟屑懈 芯 薪械芯斜褏芯写懈屑芯褋褌懈 锌褉懈褋谢邪褌褜 胁懈写械芯褋懈褋褌械屑褍 - 褋芯胁械褌褋泻懈械 褌械谢械胁懈蟹芯褉褘 薪械 懈屑械谢懈 褉邪蟹褗械屑邪 写谢褟 锌芯写泻谢褞褔械薪懈褟 胁懈写械芯屑邪谐薪懈褌芯褎芯薪邪. 袙懈写懈泻懈 锌芯 褌械屑 胁褉械屑械薪邪屑 褌芯谢褜泻芯 锌芯褟胁懈谢懈褋褜, 褋褌芯懈谢懈 斜械蟹褍屑薪芯 写芯褉芯谐芯, 懈 褋芯胁械褉褕械薪薪芯 薪械锌芯薪褟褌薪芯, 写谢褟 褔械谐芯 懈蟹胁芯写懈褌褜 褔械谢芯胁械泻邪 锌褉芯褋褜斜邪屑懈, 械褋谢懈 胁褋械 褉邪胁薪芯 褋芯斜懈褉邪械褕褜褋褟 褍械蟹卸邪褌褜 泻 薪械屑褍. 袨褌褔械谐芯 薪械 蟹邪薪褟褌褜褋褟 锌褉芯写邪卸械泄 写芯屑邪 胁 袦褟褋薪芯屑, 泻芯褌芯褉褘泄 薪邪胁械褉薪褟泻邪 褔械谐芯-褌芯, 写邪 褋褌芯懈谢, 胁屑械褋褌芯 褌芯谐芯, 褔褌芯斜褘 褌械褉蟹邪褌褜 械谐芯 褉邪褋褋泻邪蟹邪屑懈 芯 褌芯褌邪谢褜薪芯屑 斜械蟹写械薪械卸褜械? 啸芯褌褟 褝褌芯 褍卸械 褟 锌芯-斜邪斜褋泻懈, 泻芯薪械褔薪芯, 薪械 褋屑褘褋谢褟 胁 胁褘褋芯泻芯屑.
袦邪谢芯, 锌褉邪泻褌懈褔械褋泻懈 薪懈褔械谐芯 芯 褋褗械屑泻邪褏 "袞械褉褌胁芯锌褉懈薪芯褕械薪懈褟", 薪芯 褌邪屑 褍卸械 锌械褉懈芯写 斜芯褉褜斜褘 褋 褉邪泻芯屑, 懈 褝褌邪 褔邪褋褌褜 写薪械胁薪懈泻芯胁 懈褋锌芯谢薪械薪邪 褌邪泻芯谐芯 褌褉邪谐懈蟹屑邪, 褌邪泻 斜芯谢械蟹薪械薪薪芯 褌褟卸械谢邪, 薪邪褔懈薪邪褟 芯褌 胁懈写械薪懈褟 褋胁芯械谐芯 谢械谐泻芯谐芯 褋 泻褉芯胁芯褌芯褔邪褖械泄 褉邪薪芯泄 胁 褑械薪褌褉械 懈 褋薪邪 芯 楔褍泻褕懈薪械, 褋 泻芯褌芯褉褘屑 懈谐褉邪械褌 胁 泻邪褉褌褘, 邪 锌芯褌芯屑 泻褌芯-褌芯 谐芯胁芯褉懈褌: "袩芯褉邪 褉邪褋锌谢邪褔懈胁邪褌褜褋褟", 写芯 锌褉懈械蟹写邪 褋褘薪邪 袗薪写褉械褟, 屑褍褔懈褌械谢褜薪芯泄 褌械褉邪锌懈懈, 褉械屑懈褋褋懈懈 懈 泻芯薪褑邪. 协褌芯 薪械胁褘薪芯褋懈屑芯 斜芯谢褜薪芯.
芦袙褋械, 褔褌芯 褋斜褘褌褜褋褟 屑芯谐谢芯
袦薪械 泻邪泻 谢懈褋褌 锌褟褌懈锌邪谢褘泄
袩褉褟屑芯 胁 褉褍泻褍 谢械谐谢芯,
孝芯谢褜泻芯 褝褌芯谐芯 屑邪谢芯禄.
袗褉褋械薪懈泄 孝邪褉泻芯胁褋泻懈泄
April 15, 2018
A series of revelations in the form of a diary. Though less poetic than his cinema, we get to look into the pragmatic process of Soviet filmmaking, along with the myriad obstacles which were social and political in nature. The scarcity of the right actors, money, Kodak film, and appreciation of Tarkovsky by Mosfilm and the Russia he lived in is both interesting and alarming. Mundane, everyday occurrences are sprinkled with a twist of fresh perspective, and interspersed with philosophical and poetic profundity. A beautiful experience, this book, but I was delighted to know that Bergman had invited Tarkovsky to live with him in Sweden four times (!) and that it was rumored that Kurosawa had made " a very bad film" during a certain film festival. Amusing.
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