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Andrej Arsenievič Tarkovskij bol ruský režisér, scenárista a herec považovaný za jedného z najväčších filmárov sovietskej éry a svetovej kinematografie vôbec. Wikipedia  

✵ 4. apríl 1932 – 29. december 1986   •   Ďalšie mená Andrej Arseňjevič Tarkovskij
Andrej Arsenievič Tarkovskij fotka
Andrej Arsenievič Tarkovskij: 56   citátov 0   Páči sa

Andrej Arsenievič Tarkovskij citáty a výroky

„Považujem poetické odkazy, logiku poézie v kine, za mimoriadne potešujúce. Zdá sa mi, že dokonale zodpovedajú potenciálu kinematografie ako najpravdivejšej a najpoetickejšej formy umenia. Určite som s nimi viac doma ako s tradičným divadelným písaním, ktoré spája obrazy prostredníctvom lineárneho rigidného logického vývoja zápletky. Tento druh veľmi správneho spôsobu spájania udalostí zvyčajne zahŕňa ich svojvoľné nútenie do postupnosti podľa poslušnosti voči nejakej abstraktnej predstave poriadku. A aj keď to tak nie je, aj keď sa dej riadi postavami, človek zistí, že väzby, ktoré ho držia pohromade, spočívajú na ľahkej interpretácii zložitosti života.“

Andrej Arsenievič Tarkovskij
O živote , O umenie

Andrej Arsenievič Tarkovskij: Citáty v angličtine

“"Man is born unto the trouble as the sparks fly upwards." In other words suffering is germane to our existence; indeed, how without it, should we be able to "fly upwards".”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 239

“The idea of infinity cannot be expressed in words or even described, but it can be apprehended through art, which makes infinity tangible. The absolute is only attainable through faith and in the creative act.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 39

“One can only be staggered by the hubris of modern artists if we compare them, say, to the humble builders of Chartres Cathedral whose names are not even known. The artist ought to be distinguished by selfless devotion to duty; but we forgot about that a long time ago.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 189

“A literary work can only be received through symbols, through concepts — for that is what words are; but cinema, like music, allows for utterly direct, emotional, sensuous perception of the work.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 176

“No one component of a film can have any meaning in isolation: it is the film that is the work of art. And we can only talk about its components rather arbitrarily, dividing it up artificially or the sake of theoretical discussion.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 114

“For me the most interesting characters are outwardly static, but inwardly charged by an overriding passion.”

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Andrei Tarkovsky kniha Sculpting in Time

Sculpting in Time (1986)

“The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as an example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 42

“Objectivity can only be the author's and therefore subjective, even if he is editing a newsreel.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 150

“The whole concept of the avant-garde in art is meaningless. I can see what it means when applied to sport, for instance. But to apply it to art would be to accept the idea of progress in art; and though progress has an obvious place in technology — more perfect machines, capable of carrying out their functions better and more accurately — how can anyone be more advanced in art? How could Thomas Mann be said to be better than Shakespeare?”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 97

“We know perfectly well that neither love nor peace of mind can be bought with any currency.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 219

“History is not Time; nor is evolution. They are both consequences. Time is a state: the flame in which there lives the salamander of the human soul.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 57

“An artist needs knowledge and the power of observation only so that he can tell from what he is abstaining, and to be sure that his abstention will not appear artificial or false.”

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Andrei Tarkovsky

Journal entry (7 July 1980); published in Time Within Time: The Diaries 1970-1986 (1989)

“It is perfectly possible to be a professional director or a professional writer and not to be an artist: merely a sort of executor of other people's ideas.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 188

“My function is to make whoever sees my films aware of his need to love and to give his love, and aware the beauty is summoning him.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 200

“I have to say from the outset that not all prose can be transferred to the screen.”

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Andrei Tarkovsky kniha Sculpting in Time

Sculpting in Time (1986)

“Everything is conditioned by necessity of one kind or another; and if it were actually possible to find a person in conditions of total freedom, he would be like some deep water fish that had been dragged up to the surface. It's curious to reflect that Rublyov worked within the strictures of the canon! And the longer I live in the West the more curious and equivocal freedom seems to me. Freedom to take drugs? To kill? To commit suicide?”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 180

“The Stalker seems to be weak, but essentially it is he who is invincible because of his faith and his will to serve others.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 181

“It seems to me that the individual today stands at a crossroads, faced with the choice of whether to pursue the existence of blind consumer, subject to the implacable march of new technology and the endless multiplication of material goods, or to seek out a new way that will lead to spiritual responsibility, a way that ultimately might mean not only his personal salvation but also the saving of society at large; in other words, to turn to God.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 218

“Becoming an artist does not merely mean learning something, acquiring professional techniques and methods. Indeed, as someone has said, in order to write well you have to forget the grammar.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 88

“The meaning of religious truth is hope.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 43

“An artist cannot be partially sincere any more than art can be an approximation of beauty.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 47

“Above all, I feel that the sounds of this world are so beautiful in themselves that if only we could listen to them properly, cinema would have no need for music at all.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 162

“All of us are infected today with an extraordinary egoism. And that is not freedom; freedom means learning to demand only of oneself, not of life and others, and knowing how to give: sacrifice in the name of love.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 180

“What is Bresson's genre? He doesn't have one. Bresson is Bresson. He is a genre in himself. Antonioni, Fellini, Bergman, Kurosawa, Dovzhenko, Vigo, Mizoguchi, Bunuel — each is identified with himself. The very concept of genre is as cold as the tomb. And is Chaplin — comedy? No: he is Chaplin, pure and simple; a unique phenomenon, never to be repeated.”

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Andrei Tarkovsky kniha Sculpting in Time

Zdroj: Sculpting in Time (1986), p. 150

“No one component of a film can have any meaning in isolation: it is the film that is the work of art.”

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Andrei Tarkovsky kniha Sculpting in Time

And we can only talk about its components rather arbitrarily, dividing it up artificially or the sake of theoretical discussion.
Zdroj: Sculpting in Time (1986), p. 114

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