I believe that in the history of art and of thought there has always been at every living moment of culture a will to renewal. This is not the prerogative of the last decade only. All history is nothing but a succession of crises - of rupture, repudiation and resistance. When there is no crisis, there is stagnation, petrifaction and death. All thought, all art is aggressive.
Interpretation
Art and thought evolve through crises and a desire for renewal, rather than remaining stagnant.
Eugene Ionesco highlights the notion that throughout history, culture has continually faced crises that drive renewal and creativity. He argues that stagnation leads to decay, while the aggressive nature of thought and art thrives on conflict and transformation, suggesting that it is through challenges and disruptions that innovation and progress emerge.
In practice
In a speech about the importance of artistic expression in times of social upheaval.
Since the death instinct exists in the heart of everything that lives, since we suffer from trying to repress it, since everything that lives longs for rest, let us unfasten the ties that bind us to life, let us cultivate our death wish, let us develop it, water it like a plant, let it grow unhindered. Suffering and fear are born from the repression of the death wish.
Childhood is the world of miracle and wonder; as if creation rose, bathed in the light, out of the darkness, utterly new and fresh and astonishing. The end of childhood is when things cease to astonish us.
No society has been able to abolish human sadness, no political system can deliver us from the pain of living, from our fear of death, our thirst for the absolute. It is the human condition that directs the social condition, not vice versa.
Drama lies in extreme exaggeration of the feelings, an exaggeration that dislocates flat everyday reality.
Language should almost break up or explode in its fruitless effort to contain so many meanings.
The brightest light, the light of Italy, the purest sky of Scandinavia in the month of June is only a half-light when one compares it to the light of childhood. Even the nights were blue.
Adapting a novel is not really about being faithful to every word and every moment the author has created. It's more about that same story being filtered through somebody else's sensibility.
I'll go to the movies and hear 'Angel From Montgomery' in some film, and nobody ever even told me about it. They don't tell you your stuff is going to be in a movie. They don't have to, so they don't tell you. You get paid eventually.
I don't go into the studio with the idea of 'saying' something. What I do is face the blank canvas and put a few arbitrary marks on it that start me on some sort of dialogue.
When I discovered the lyric poem, that advanced not by narrative steps but by blocks and layers of imagery, I said, 'Gee, I probably could do that. So let me try that.'
One must die to life in order to be utterly a creator.
I am more a friend of art than a producer of painting.
Subscribe for the occasional hand-picked quote. No noise.