Andreï Tarkovski citations

Andreï Arsenievitch Tarkovski est un réalisateur, scénariste et écrivain soviéto-franco-italien né le 4 avril 1932 à Zavrajié dans le raïon de Iouriévets en URSS et mort le 29 décembre 1986 à Neuilly-sur-Seine en France d'un cancer du poumon.

Considéré comme un des plus grands réalisateurs soviétiques, il a réalisé sept longs-métrages qui le placent parmi les maîtres du septième art. Son premier film, L'Enfance d'Ivan , est vu comme le signe d'un renouveau du cinéma soviétique. Mais Tarkovski s'éloigne dès le film suivant, Andreï Roublev , de toute considération politique pro-soviétique, ce qui le fera se confronter à la censure avec ses quatre films suivants. Il choisit à la fin des années 1970 de quitter l'URSS pour réaliser ses deux derniers films à l'étranger, Nostalghia et Le Sacrifice car les organes soviétiques de cinéma ne lui permettent plus de financer ses films.

Il est récompensé dès son premier long-métrage du Lion d'or à la Mostra de Venise 1962, pour L'Enfance d'Ivan. À leur sortie, ses films sont des succès critiques, mais peinent à trouver leur public. Ils rencontrent néanmoins le succès lorsqu'ils sont de nouveau autorisés en URSS lors de la perestroïka. En 1986, il obtient le grand prix du jury à Cannes pour Le Sacrifice.

Son oeuvre, exigeante et empreinte de mysticisme, convoquent plusieurs thématiques, comme l'enfance, l'histoire russe, le quotidien, ou encore le rapport à la terre et aux éléments naturels. Ses films, qu'il s'agisse de Stalker ou de Le Miroir sont considérés comme des classiques. Wikipedia  

✵ 4. avril 1932 – 29. décembre 1986   •   Autres noms Andrej Arseňjevič Tarkovskij
Andreï Tarkovski photo
Andreï Tarkovski: 56   citations 0   J'aime

Andreï Tarkovski Citations

Andreï Tarkovski: Citations en anglais

“Poetry is an awareness of the world, a particular way of relating to reality.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time

“I have a horror of tags and labels.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 149
Contexte: I have a horror of tags and labels. I don't understand, for instance, how people can talk about Bergman's "symbolism". Far from being symbolic, be seems to me, through and almost biological naturalism, to arrive at the spiritual truth about human life that is important to him.

“Show them life, and they'll find within themselves the means to assess and appreciate it.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 152
Contexte: Never try to convey your idea to the audience — it is a thankless and senseless task. Show them life, and they'll find within themselves the means to assess and appreciate it.

“A book read by a thousand different people is a thousand different books.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 177

“I am only interested in the views of two people: one is called Bresson and one called Bergman.”

Andrei Tarkovsky livre Sculpting in Time

After the Goskino representative explains that he is trying to give the point of view of the audience.
Sculpting in Time (1989)

“I have always liked people who can't adapt themselves to life pragmatically.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time

“What is the essence of the director's work? We could define it as sculpting in time.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 63-4
Contexte: What is the essence of the director's work? We could define it as sculpting in time. Just as a sculptor takes a lump of marble, and, inwardly conscious of the features of his finished piece, removes everything that is not a part of it — so the film-maker, from a 'lump of time' made up of an enormous, solid cluster of living facts, cuts off and discards whatever he does not need, leaving only what is to be an element of the finished film, what will prove to be integral to the cinematic image.

“The artist is always the servant, and is perpetually trying to pay for the gift that has been given to him as if by a miracle. Modern man, however, does not want to make any sacrifice, even though true affirmation of the self can only be expressed in sacrifice.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 38
Contexte: Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken the wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for his own sake. What purports to be art begins to looks like an eccentric occupation for suspect characters who maintain that any personalised action is of intrinsic value simply as a display of self-will. But in an artistic creation the personality does not assert itself it serves another, higher and communal idea. The artist is always the servant, and is perpetually trying to pay for the gift that has been given to him as if by a miracle. Modern man, however, does not want to make any sacrifice, even though true affirmation of the self can only be expressed in sacrifice. We are gradually forgetting about this, and at the same time, inevitably, losing all sense of human calling.

“Art is realistic when it strives to express an ethical ideal. Realism is striving for truth, and truth is always beautiful.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 113
Contexte: Art is realistic when it strives to express an ethical ideal. Realism is striving for truth, and truth is always beautiful. Here the aesthetic coincides with the ethical.

“I had the greatest difficulty in explaining to people that there is no hidden, coded meaning in the film, nothing beyond the desire to tell the truth. Often my assurances provoked incredulity and even disappointment. Some people evidently wanted more: they needed arcane symbols, secret meanings.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 133
Contexte: [About Mirror] I had the greatest difficulty in explaining to people that there is no hidden, coded meaning in the film, nothing beyond the desire to tell the truth. Often my assurances provoked incredulity and even disappointment. Some people evidently wanted more: they needed arcane symbols, secret meanings. They were not accustomed to the poetics of the cinema image. And I was disappointed in my turn. Such was the reaction of the opposition party in the audience; as for my own colleagues, they launched a bitter attack on me, accusing me of immodesty, of wanting to make a film about myself.

“If there are some who talk the same language as myself, then why should I neglect their interests for the sake of some other group of people who are alien and remote?”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 174
Contexte: If there are some who talk the same language as myself, then why should I neglect their interests for the sake of some other group of people who are alien and remote? They have their own 'gods and idols' and we have nothing in common.... If you try to please audiences, uncritically accepting their tastes, it can only mean that you have no respect for them: that you simply want to collect their money.

“Art symbolises the meaning of our existence.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 192
Contexte: Art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist's version, the more clearly perhaps must we see the ideal that stands in opposition — otherwise life becomes impossible! Art symbolises the meaning of our existence.

“Perhaps the meaning of all human activity lies in the artistic consciousness, in the pointless and selfless creative act?”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 241
Contexte: Perhaps the meaning of all human activity lies in the artistic consciousness, in the pointless and selfless creative act? Perhaps our capacity to create is evidence that we ourselves were created in the image and likeness of God?

“Conscience, both as a sense and as a concept, is a priori immanent in man, and shakes the very foundations of the society that has emerged from our ill-conceived civilisation.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 234
Contexte: Freedom is inseparable from conscience. And even if it is true that all the ideas developed by the social conciousness are the product of evolution, conscience at least has nothing to do with the historic process. Conscience, both as a sense and as a concept, is a priori immanent in man, and shakes the very foundations of the society that has emerged from our ill-conceived civilisation.

“Art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 192
Contexte: Art must must carry man's craving for the ideal, must be an expression of his reaching out towards it; that art must give man hope and faith. And the more hopeless the world in the artist's version, the more clearly perhaps must we see the ideal that stands in opposition — otherwise life becomes impossible! Art symbolises the meaning of our existence.

“Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken the wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for his own sake.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 38
Contexte: Art is born and takes hold wherever there is a timeless and insatiable longing for the spiritual, for the ideal: that longing which draws people to art. Modern art has taken the wrong turn in abandoning the search for the meaning of existence in order to affirm the value of the individual for his own sake. What purports to be art begins to looks like an eccentric occupation for suspect characters who maintain that any personalised action is of intrinsic value simply as a display of self-will. But in an artistic creation the personality does not assert itself it serves another, higher and communal idea. The artist is always the servant, and is perpetually trying to pay for the gift that has been given to him as if by a miracle. Modern man, however, does not want to make any sacrifice, even though true affirmation of the self can only be expressed in sacrifice. We are gradually forgetting about this, and at the same time, inevitably, losing all sense of human calling.

“The film needs to be slower and duller at the start so that the viewers who walked into the wrong theatre have time to leave before the main action starts”

Andrei Tarkovsky livre Sculpting in Time

On being told that his film Stalker should be faster and more dynamic by officials at Goskino.
Sculpting in Time (1989)

“Relating a person to the whole world: that is the meaning of cinema.”

Andrei Tarkovsky livre Sculpting in Time

Source: Sculpting in Time (1986), p. 66

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