1970及其前因后果 :: 一瞥惊鸿黄金屋

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雕刻时光

(Die versiegelte Zeit)

作者:[苏]安德烈·塔可夫斯基(Andrej Tarkowskiji)

译者:陈丽贵 李泳泉

ISBN: 7-02-003985-5

北京:人民文学出版社

2003年8月

223千字

 

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作者简介:

安德烈·塔可夫斯基:一九三二年生于俄罗斯札弗洛塞镇,是诗人阿尔谢尼伊·塔可夫斯基之子。曾就学于苏联电影学院,一九六一年毕业。他的电影曾经赢得多项国际性大奖;第一部长故事片《伊万的童年》于一九六二年获得威尼斯影展金狮奖:第二部电影《安德烈·卢布廖夫》于一九六九年的嘎那影展赢得大奖;接下来的作品,《索拉里斯》(飞向太空)(1972)、《镜子》(1974)、《潜行者》(1979)均受到西方国家热烈推崇。他的作品以擅长运用惊人的象征意象驰名于世。一九八三年在意大利拍摄《乡愁》时,塔可夫斯基决定终生不再返回苏联。其最后一部作品《牺牲》荣获一九八六年嘎那影展评审团特别奖,同年十二月,塔可夫斯基因肺癌病逝于巴黎,享年五十四岁。 ——中文版简介

Andrey Tarkovsky, the genius of modern Russian cinema hailed by Ingmar Bergman as "the most important director of our time" died in exile in Paris in December 1986. In Sculpting in Time, he has left his artistic testament, a remarkable revelation of both his life and work.

Since Ivan's Childhood won the Golden Lion at the Venice Film Festival in 1962, the visionary quality and totally original and haunting imagery of Tarkovsky's films have captivated serious movie audiences all over the world, who see in his work a continuation of the great literary traditions of nineteenth-century Russia. Many critics have tried to interpret his intensely personal vision, but he himself always remained inaccessible.—— Book Lounge

Insights from a genius

This extraordinary book is not just about filmmaking, it's about all art...about life, faith, inner exploration, and the Russian soul.

It contains exquisite poetry, mostly written by Tarkovsky's father, Arseny Tarkovsky, and detailed descriptions of the making of several of his films, as well as photos from them that show the eerie, mystical, and incredible beauty of his work.

Tarkovsky is master of making us see the wonder of all creation in the most mundane subjects. He brings us one step closer in our journey toward the light through his art.

From page 43: "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".

Get "Fugue" instead

"Sculpting in Time" is basically a rant by a great film director. That's not to say that his rants don't have their merit. They do. They illuminate his aesthetic approaches to filmmaking and his concept of art (or, as he would say, Art) in society. The trouble is, his comments do not really assist those who simply want to better understand his films. If you're like me and want to gain a greater understanding of and appreciation for Tarkovsky's works, get "The Films of Andrei Tarkovsky: A Visual Fugue" by Vida T. Johnson and Graham Petrie.                               —— Amazon.com

 

压路机与小提琴

Katok i Skripka 1960

伊万的童年

Ivanovo Detstvo 1962

安德烈·卢布廖夫

Andrei Rublev 1966

飞向太空

Solaris 1972

镜子

Zerkalo 1974

潜行者

Stalker 1979

乡愁

Nostalghia 1983

牺牲

The Sacrifice 1986

目 录

  前言

  1. 缘起

  2. 艺术——理想的思慕

  3. 烙印时光

  4. 电影的宿命角色

  5. 电影影像

    时间,节奏和剪接

    剧本和拍摄脚本

    电影的图像呈现

    电影演员

    音乐与噪音

  6. 寻找观众的作者

  7. 艺术家的责任

  8. 《乡愁》之后

  9. 《牺牲》

  结论

  附录一 塔可夫斯基传略

  附录二 作品目录

本站简评

买这本书的人多多少少都看过一些安德烈·塔可夫斯基的电影。这七部半电影的DVD已经都出齐,所以如我这般欣赏过他所有作品的人估计也不在少数。我之所以推崇塔可夫斯基是因为他懂得在凝视中思考,不迎合任何思潮,不强调时代特征,且秉承了俄罗斯深厚的绘画和哲学传统。

《雕刻时光》有个副标题:塔可夫斯基的电影反思(Reflections on the Cinema)。但书中并没有系统地对作者的电影作品做足够多的介绍与分析,尽管它确实提及了所有这些电影。作者更多地是针对电影制作的各方面工作及相关角色、相关领域,阐述自己的零散看法。从中我们至少可以得知,塔可夫斯基反对爱森斯坦的蒙太奇理论,还认为电影的表现手法不能陷于文学化,如此等等。由于本书基本不针对具体电影作品,所以如果想对它们做深入了解,还是应该按照上面某位外国读者的意见,读其他的书更好。

现在这本中文简体版是10年前的译本,两位翻译者均为台湾人。

参考资料

References

     

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