Tommaso Campanella philosophy in brief. Tommaso Campanella, his life and work
75% of what is done in rehearsal usually doesn't make it into the performance.
An actor must learn to make the difficult familiar, the familiar easy, and the easy beautiful.
The will is powerless until it is inspired by desire.
Inspiration comes only on holidays. Therefore, we need some more accessible, well-trodden path that would be owned by the actor, and not one that would be owned by the actor, as the path of feeling does. The path that the actor can most easily master and which he can fix is the line of physical action. Once these physical actions are clearly defined, the actor will only have to physically perform them. (Note that I say physically perform it, and not experience it, because with the correct physical action, the experience will be born by itself. If you go the opposite way and start thinking about the feeling and squeezing it out of yourself, then immediately a dislocation from violence will occur, the experience will turn into acting, and the action will degenerate into acting).
The house is laid brick by brick, and the role is added by small actions.
He lived a long time. I saw a lot. Was rich. Then he became poor. I saw the light...
Had good family, children. Life has scattered everyone around the world. I was looking for fame. Found it. I saw the honors.
I was young. Got old. I have to die soon.
- What is happiness on earth?
In knowledge. In art and in work, in comprehending it. By experiencing the art in yourself, you get to know nature, the life of the world, the meaning of life, you get to know the soul - talent! There is no higher happiness than this.
What about success? Frailty.
To live means to act.
Every day on which you have not replenished your education with at least a small, but new piece of knowledge for you... consider it fruitless and irrevocably lost for yourself.
Love the art in yourself, not yourself in the art.
Either you (the director) are the initiator of creativity, and we (the actors) are simple material in your hands, simply artisans, or, on the contrary, we create, and you only help us. Otherwise, what will happen?
We hate theatricality in the theater, but we love theatricality on stage. It's a huge difference.
You cannot spit in the altar and then pray there, on the spit-covered floor.
I don't believe it! (his directorial touch)
But, as luck would have it, I was tall, awkward, ungraceful and tongue-tied in many letters. I was exceptionally awkward: when I entered a small room, they rushed to remove the figurines and vases that I touched and broke. Once at a big ball I dropped a palm tree in a tub. Another time, while courting a young lady and dancing with her, I tripped, grabbed the piano, whose leg was broken, and fell to the floor along with the piano.
To understand means to feel.
Let old wisdom guide young vigor and strength, let young vigor and strength support old wisdom.
Previously, I answered that the director is a matchmaker who brings the author and the theater together and, with a successful performance, arranges mutual happiness for both. Then I said that the director is a midwife who helps the performance, a new work of art, to be born. In old age, the midwife sometimes becomes a healer and knows a lot; By the way, midwives are very observant in life. But now I think the director's role is becoming more and more difficult.
The scene needs to be done and then acted.
Talent is the desire to work, and secondly, the ability to work.
Theater begins with a hanger. (oral quote attributed to him)
Learn to listen, understand and love the brutal truth about yourself.
Good scenery is a salvation for amateurs. How many acting sins are covered up by picturesqueness, which easily gives the whole performance an artistic touch! It is not for nothing that so many acting and directorial mediocrities are strenuously hiding on stage behind scenery, costumes, colorful spots, stylization, cubism, futurism and other “isms”, with the help of which they try to shock an inexperienced and naive viewer.
The feeling cannot be recorded.
What is talent? - Soul.
This is the law of cheap, provincial theater - to jump up from your seat at every winning phrase. In the old days, actors used to say: “Oh, and I’ll give a candle to this phrase,” that is, I’ll jump so much that the whole audience gasps! Well, some grasshoppers were jumping on stage! Who is taller, who will jump faster!
On January 17, 1863, a Russian theater director, the creator of the famous acting system, which has been extremely popular in Russia and in the world for more than 100 years, People's Artist of the USSR Konstantin Stanislavsky, was born. He owns the world-famous phrase “I don’t believe it!”, which he used as a director’s technique. On Konstantin Stanislavsky's birthday, we collected twenty of his most striking quotes about theater, art and life.
About the theater
“There are no small roles, there are small actors.”
“An actor must learn to make the difficult familiar, the familiar easy, and the easy beautiful.”
“Good scenery is a salvation for amateurs. How many acting sins are covered up by picturesqueness, which easily gives the whole performance an artistic touch! It’s not for nothing that so many acting and directorial mediocrities are strenuously hiding on stage behind scenery, costumes, colorful spots, stylization, cubism, futurism and other “nemes”, with the help of which they try to shock an inexperienced and naive viewer.”
“When you play a good man, look for where he is evil, and in evil, look for where he is good.”
“He thought he was a complete actor, but it turned out he was a complete actor.”
"Theater begins with a hanger."
“There is only one reason for an actor not to appear at a performance - death.”
“A house is built brick by brick, and a role is built by small actions.”
“Play with full and sympathetic auditorium- the same as singing in a room with good acoustics. The viewer creates, so to speak, spiritual acoustics. He receives from us and, like a resonator, returns to us his living human feelings.”
“This is the law of cheap, provincial theater - to jump up from your seat at every winning phrase. In the old days, actors used to say: “Oh, and I’ll give a candle to this phrase,” that is, I’ll jump so much that the whole audience gasps! Well, some grasshoppers were jumping on stage! Who is taller, who will jump faster!”
About art
“Art is a reflection and knowledge of life; Without knowing life, you cannot create.”
“What is talent? - Soul".
“Love the art in yourself, not yourself in the art.”
“You need to write for children the same way as for adults, only better.”
“There is no art that does not require virtuosity, and there is no final measure for the completeness of this virtuosity.”
About life
“Every day on which you have not supplemented your education with at least a small, but new piece of knowledge for you... consider it fruitless and irrevocably lost for yourself.”
“First make sure, and then convince.”
“While we are young, we should arm ourselves with a toothbrush and go wherever our eyes lead us. Laugh, do crazy things, cry, go against the system, read as much as you can’t seem to fit into your head, love as much as you can, feel. Just live."
“Learn to listen, understand and love the hard truth about yourself.”
“For those who don’t know how to dress, fashions were created.”
Konstantin Sergeevich Stanislavsky: “I don’t believe it!” This combination can only be compared with Mayakovsky’s expression about Lenin and the party. If we slightly paraphrase it, we get the following: as soon as you hear two words about distrust of something, the name, patronymic and surname of the founder immediately ring in your head
Popularity of the phrase
Even if a person knows nothing at all about this director, about his world-famous System, he will still easily complement the first phrase with the second. Because “Stanislavsky” and “I don’t believe” are twin brothers. Konstantin Alekseev (this is his real name) used this biting phrase in lessons on crafts and rehearsals of performances. The phrase did not make him famous, his talent brought him recognition, it made him famous and quoted all over the world, beyond
Memory of the director
Alekseevs is a surname known in Tsarist Russia. Father is a major industrialist, cousin- Moscow mayor, the family was related to the Tretyakovs and Mamontovs - famous philanthropists. This was truly the “color of Russia,” which, as we know, did not have its own prophets. One can only wonder how a representative of the nobility and industrial elite managed to avoid persecution. However, he got everything state awards, the title of academician and people's artist. Streets in dozens of cities are named after him, commemorative medals have been issued, and there are awards named after him - the MIFF “I Believe” award. Konstantin Stanislavsky." There have been seasons named after him for several years now. These are theater festivals that bring the world's best performances. The unforgettable phrase of people who question something: “I don’t believe what Stanislavsky said,” has become popular. Its first part, said separately, sounds rude and even insulting. But when combined with the surname, it caresses the ear with tolerance and hints at the erudition of the interlocutor.
Foundation of the Moscow Art Theater
In 1898, at the age of thirty, Konstantin Sergeevich, together with Nemirovich-Danchenko, founded a new one. They were faced with the acute question of reforming the performing arts. And Stanislavsky begins to create his famous System, the goal of which is to get the “truth of life” from the actors. The super task, the main idea of this theory, required not to play the role, but to completely get used to it. The assessment of the actors’ work during rehearsals was the phrase that Stanislavsky threw out: “I don’t believe it.” Documentary footage of such a run-in of the role has been preserved. There is a rehearsal for the play “Tartuffe,” Konstantin Sergeevich’s latest production, and he gives advice to the theater actress V. Bendina, who plays Dorina, to lie on stage, as she herself would lie in life. Unique shots. The year is 1938, the year of the death of the brilliant director. Even Nemirovich-Danchenko, with whom relations were completely severed for many years (their friendship and enmity are very well described in M. Bulgakov’s “Theatrical Novel”), said the famous phrase: “Orphans.” Stanislavsky died. No one else said “I don’t believe it” to the actors.
Secrets of mastery
But the school remained, the System of Konstantin Sergeevich remained, which formed the basis of Russian theatrical mastery. Its postulates are fully described in the books “My Life in Art” and “An Actor’s Work on Oneself.” The rehearsals themselves for two famous Moscow Art Theater performances were described in detail by the theater’s most talented actor, Toporkov, and represent vivid documentary evidence of the director’s work with the performers.
The performance of no American actor can compare in intensity of passion and truthfulness with the skill of Russian artists, dead and living, such as Plyatt, Popov, Makovetsky, Efremov. They just have different super goals. Most TV series, both foreign and domestic, are not discussed at all. In this case, it’s even too lazy to say the phrase: “As Stanislavsky said, “I don’t believe it”,” because it still refers to “high art,” whether the actors play well or poorly.
The extraordinary talent of Stanislavsky
How talented person, Konstantin Sergeevich was talented in everything. In his youth, he worked for quite a long time at his father’s factory and rose to the rank of director. The products manufactured by the enterprise were not far from the world of beauty - they produced the finest gold and silver wire - the basis for the production of brocade. All evenings were devoted to amateur acting at the Alekseev Theater. Stanislavsky, as is obvious, got his love for acting and talent from his grandmother, the French artist Marie Varley. Later, Konstantin Sergeevich studied plastic arts and vocals and sang well. One of the best musical theaters in the country bears his name and the name of Nemirovich-Danchenko. The famous talented theorist and reformer of stage art, Stanislavsky was a very gifted actor. A number of his famous roles are included in the world's collection of acting works (for example, The Old Man). He was noticed from the first professional productions. However, in 1916 he completely stopped his artistic activities. An exception was made only once - forcedly, during the theater's tour abroad. For everyone, the abrupt cessation of performances on stage, and after brilliant rehearsals, including the dress rehearsal, remained a mystery. It was the role of Rostanev from Dostoevsky’s “The Village of Stepanchikovo,” which he worked on for a year. We have to assume that Konstantin Sergeevich first uttered such a later-famous phrase, addressing himself: “Stanislavsky, I don’t believe it.” But the director's and scientific work he did not leave until the end of his life. After his death, one of the best theaters in the world, his famous System, his school of theatrical excellence, talented students and brilliant books remained. And the phrase remained forever, a symbol of doubt about something or distrust - “I don’t believe.”
Tommaso Campanella was born on September 5, 1568. The son of a shoemaker, Tommaso showed unusual inclinations and abilities from childhood. According to legend, as a child he was initiated into the secrets of alchemy and taught astrology and related disciplines by a Kabbalist rabbi.
In his early youth he joined the Dominican order, but soon discovered great freedom of thought in religious matters, incurred the hatred of theologians and had to leave his homeland. In 1598, returning to Naples, he was captured along with several monks and put on trial on charges of witchcraft and plotting to overthrow the system with a view to proclaiming a republic.
He was sentenced to life imprisonment by the Inquisitorial Tribunal and spent 27 years in prison. During his nearly 27-year stay in Neapolitan prisons, he wrote dozens of books, partly published in Germany and distributed in lists.
On Campanella's side were Cardinal Richelieu and King Louis XIII - they considered Campanella a great astrologer and scientist. Campanella predicted to Louis XIII the birth of a son whose life would be happy and long. And indeed, after 22 years of barren marriage, Anne of Austria gave birth to the future Louis XIV, the “Sun King”.
Campanella was released in 1626 and acquitted in 1629. Campanella spent the end of his life in France, where he received a pension from Cardinal Richelieu.
Among Campanella's creations is the famous utopia "City of the Sun", depicting an ideal country in the form of a novel. The population of this city-state leads " philosophical life in communism,” that is, it has everything in common, not excluding wives. With the destruction of property, many vices are destroyed, all self-esteem disappears and love for the community develops.
Campanella was not sufficiently appreciated as a representative of modern philosophy, because his ideas various reasons disgusted people the most various directions. Some were frightened by his teaching about the involvement of everything existing God, which could seem downright pantheistic; others were repulsed by his communism, others were disgusted by his religious beliefs and theocratic ideals. In addition to his philosophical significance, Campanella was the “advanced fighter” of contemporary positive science and firmly defended Galileo, which Descartes did not dare to do after him.
Campanella predicted his death date - June 1, 1639, during solar eclipse, and died on May 21, 1639 in a Jacobin monastery in Paris, 10 days before the predicted day.
Tommaso Campanella(Italian Tommaso Campanella, at baptism received the name Giovanni Domenico Ital. Giovanni Domenico; September 5, 1568 - May 21, 1639, Paris) - Italian philosopher and writer, one of the first representatives of utopian socialism
Philosophy
Campanella's worldview amazingly combines all three main directions of the new philosophy - empirical, rationalistic and mystical, which appeared separately in his younger contemporaries Bacon, Descartes and Jacob Boehme. (Bacon was born somewhat earlier than Campanella, but Campanella’s first philosophical work (“Lectiones physicae, logicae et animasticae”) was published in 1588, and Bacon’s first work only in 1605).
Like Bacon, Campanella sets out to “restore the sciences” (instauratio scientiarum, cf. Bacon’s Instauratio Magna), that is, the creation of a new universal science on the ruins of medieval scholasticism. He recognizes external experience, internal meaning and revelation as the sources of true philosophy. The starting point of knowledge is feeling. Saved memory and reproducible imagination brain traces of sensations provide material reason, which puts them in order according to logical rules and from private data through induction draws general conclusions, thus creating experience- the basis of any “secular” science (cf. Bacon).
However, knowledge based on sensations in itself is insufficient and unreliable:
it is not enough because we do not recognize in it objects as they really are, but only their appearance for us, that is, the way they act on our feelings (cf. Kant);
unreliable because sensations in themselves do not represent any criterion of truth, even in the sense of sensory-phenomenal reality: in a dream and in mad delirium we have vivid sensations and ideas that are accepted as reality and then rejected as deception; limiting ourselves to sensations alone, we can never be sure whether we are in a dream or in delirium (cf. Descartes).
But if our sensations and everything based on them sensory experience does not testify to the actual existence of objects given in it, which may be dreams or hallucinations, then even in this case (that is, even as a delusion), it testifies to the real existence of the erring person. Deceptive sensations and false thoughts nevertheless prove the existence of a sentient and a thinking person (cf. Descartes' cogito - ergo sum). Thus, directly in our own soul or in the inner feeling we find reliable knowledge about real being, based on which we, by analogy, conclude about the existence of other beings (cf. Schopenhauer).
The inner feeling, testifying to our existence, at the same time reveals to us the basic definitions or ways of all being. We feel ourselves: 1) as force, or power, 2) as thought, or knowledge, and 3) as will, or love. These three positive definitions of being are, to varying degrees, characteristic of everything that exists, and they exhaust the entire internal content of being. However, both in ourselves and in the beings of the external world, being is connected with non-existence, or nothingness, since each given being is this and is not another, is here and is not there, is now and is not after or before. This negative point also extends to the internal content, or quality, of all being in its three main forms; for we not only have strength, but also infirmity, not only do we know, but we are also in ignorance, not only love, but also we hate. But if in experience we see only a mixture of being and non-being, then our mind has a negative attitude towards such confusion and affirms the idea of a completely positive being, or an absolute being, in which force is only omnipotence, knowledge is only omniscience, or wisdom, will - only perfect love. This idea of the Divine, which we could not extract either from external or internal experience, is an inspiration, or revelation, of the Divine itself (cf. Descartes).
From the idea of God the further content of philosophy is then derived. All things, insofar as they have positive being in the form of power, knowledge and love, come directly from the Godhead in his three respective determinations; the negative side of everything that exists, or an admixture of non-existence in the form of weakness, ignorance and malice, is allowed by the Divine as a condition for the fullest manifestation of its positive qualities. In relation to the chaotic multiplicity of mixed being, these three qualities manifest themselves in the world as three creative influences (influxus): 1) as absolute necessity(necessitas), to whom everything is the same subordinated, 2) as a higher destiny, or rock(fatum), by which all things and events are in a certain way connected among themselves, and 3) as a worldwide harmony, which everything agrees, or is brought to internal unity.
With their external phenomenal separateness, all things in their inner essence, or metaphysically, share in the unity of God, and through him they are in inextricable secret communication with each other. This "sympathetic" connection of things, or natural magic, presupposes at the basis of all creation a single world soul- a universal instrument of God in the creation and management of the world. Campanella served as the mediating natural-philosophical categories between the world soul and the given world of phenomena. space, warmth, attraction and repulsion. In the natural world, metaphysical communication of creatures with God and among themselves manifests itself unconsciously or instinctively; man in religion consciously and freely strives for union with the Divine. This upward movement of man corresponds to the descent of the Divine towards him, completed by the incarnation of divine Wisdom in Christ.
The application of a religious-mystical point of view to humanity as a social whole led Campanella in his youth to his theocratic communism (see above).
Campanella was not sufficiently appreciated as a representative of the philosophy of the New Age, because his ideas were distasteful from different sides to people of very different directions. Some were frightened by his teaching about the participation of everything that exists in God, which could seem downright pantheistic; others were repelled by his communism, others were disgusted by his religious beliefs and theocratic ideals. In addition to his philosophical significance, Campanella was the “vanguard fighter” of contemporary positive science and firmly defended Galileo, which Descartes did not dare to do after him.
