Ingmar Bergmanová citátov

Ingmar Bergmanová fotka
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Ingmar Bergmanová

Dátum narodenia: 14. júl 1918
Dátum úmrtia: 30. júl 2007

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Ingmar Bergman bol švédsky filmový režisér.

Vyslúžil si uznanie za prenikavé analýzy ľudských citov a stal sa vzorom pre niekoľko generácií tvorcov na celom svete. Vo svojich dielach sa sústreďuje na vnútorné rozpory a krehkosť duše. Debutoval filmom Kris , ale prvým z tematicky a štýlovo inovátorských filmov, ktoré sú pre neho charakteristické, prišiel až v roku 1949. Po nich nasledoval rad filmov, ktoré dokladali Bergmanove umelecké vyzrievanie, napr. Leto s Monikou . Bergman neprestal skúmať nové naratívne postupy a tematické oblasti, o čom svedčí stredoveká moralita Prameň panny , film Diablovo oko i znepokojujúce snímky Ako v zrkadle a Mlčanie . V USA zaznamenal najväčší úspech s filmom Šepoty a výkriky .

Všeobecné uznanie ako jeden z najväčších filmových režisérov svojej doby získal vo Švédsku ako aj v zahraničí filmom Fanny a Alexander, 1981, ktorý nakrútil po návrate z dobrovoľného exilu v Nemecku. Jeho filmy boli veľa ráz nominované na Oscara, ktorého mu udelili za Prameň panny, Ako v zrkadle a Fanny a Alexander. Najvyššie ocenenia za svoje filmy získal Bergman aj na festivaloch v Berlíne a Cannes.

Ingmar Bergman napísal v 80. a 90. rokoch minulého storočia viacero zväzkov svojich pamätí, resp. pamätí bergmanovskej rodiny , z ktorých niektoré preložil M. Žitný do slovenčiny.

O esejistický výklad Bergmanovej filmárskej osobnosti a niektorých jeho kľúčových filmov sa pokúsil Július Vanovič v knihe Za kulisy života .

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Citáty Ingmar Bergmanová

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„We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal.“

—  Ingmar Bergman
Context: People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres. Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation. The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other. We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts. Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral. Four Screenplays of Ingmar Bergman (1960).

„Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral.“

—  Ingmar Bergman
Context: People ask what are my intentions with my films — my aims. It is a difficult and dangerous question, and I usually give an evasive answer: I try to tell the truth about the human condition, the truth as I see it. This answer seems to satisfy everyone, but it is not quite correct. I prefer to describe what I would like my aim to be. There is an old story of how the cathedral of Chartres was struck by lightning and burned to the ground. Then thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed — master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous, and no one knows to this day who built the cathedral of Chartres. Regardless of my own beliefs and my own doubts, which are unimportant in this connection, it is my opinion that art lost its basic creative drive the moment it was separated from worship. It severed an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days the artist remained unknown and his work was to the glory of God. He lived and died without being more or less important than other artisans; 'eternal values,' 'immortality' and 'masterpiece' were terms not applicable in his case. The ability to create was a gift. In such a world flourished invulnerable assurance and natural humility. Today the individual has become the highest form and the greatest bane of artistic creation. The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance. The artist considers his isolation, his subjectivity, his individualism almost holy. Thus we finally gather in one large pen, where we stand and bleat about our loneliness without listening to each other and without realizing that we are smothering each other to death. The individualists stare into each other's eyes and yet deny the existence of each other. We walk in circles, so limited by our own anxieties that we can no longer distinguish between true and false, between the gangster's whim and the purest ideal. Thus if I am asked what I would like the general purpose of my films to be, I would reply that I want to be one of the artists in the cathedral on the great plain. I want to make a dragon's head, an angel, a devil — or perhaps a saint — out of stone. It does not matter which; it is the sense of satisfaction that counts. Regardless of whether I believe or not, whether I am a Christian or not, I would play my part in the collective building of the cathedral. Four Screenplays of Ingmar Bergman (1960).

„I've never been much smitten by Catholicism. I've never been committed to any religious dogma of any sort. … For years the Catholics had me on their blacklist. Then along comes some sharp-witted pater and says 'Let's take this lad into the business, instead.' And I've been plagued by Catholic interpretations ever since.“

—  Ingmar Bergman
Context: I've never been much smitten by Catholicism. I've never been committed to any religious dogma of any sort. … For years the Catholics had me on their blacklist. Then along comes some sharp-witted pater and says 'Let's take this lad into the business, instead.' And I've been plagued by Catholic interpretations ever since. … I've never felt any attraction to Catholicism. Catholicism, I think, does have its attractions. But Protestantism is a wretched kettle of fish. Stig Bjorkman interview <!-- p. 146 -->

„The moments before he died, Christ was seized by doubt. Surely that must have been his greatest hardship? God's silence.“

—  Ingmar Bergman
Context: When Jesus was nailed to the cross — and hung there in torment - he cried out — "God, my God! Why hast thou forsaken me?" He cried out as loud as he could. He thought that his heavenly father had abandoned him. He believed everything he'd ever preached was a lie. The moments before he died, Christ was seized by doubt. Surely that must have been his greatest hardship? God's silence. Algot Frövik (Allan Edwall) in Winter Light (1962).

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