Persona (1966)

“I understand, all right. The hopeless dream of being – not seeming, but being. At every waking moment, alert. The gulf between what you are with others and what you are alone. The vertigo and the constant hunger to be exposed, to be seen through, perhaps even wiped out. Every inflection and every gesture a lie, every smile a grimace. Suicide? No, too vulgar. But you can refuse to move, refuse to talk, so that you don’t have to lie. You can shut yourself in. Then you needn’t play any parts or make wrong gestures. Or so you thought. But reality is diabolical. Your hiding place isn’t watertight. Life trickles in from the outside, and you’re forced to react. No one asks if it is true or false, if you’re genuine or just a sham. Such things matter only in the theatre, and hardly there either. I understand why you don’t speak, why you don’t move, why you’ve created a part for yourself out of apathy. I understand. I admire. You should go on with this part until it is played out, until it loses interest for you. Then you can leave it, just as you’ve left your other parts one by one.”

” The hopeless dream of being – not seeming, but being.
At every waking moment, alert. The gulf between what you are with others and what you are alone. The vertigo and the constant hunger to be exposed, to be seen through, perhaps even wiped out…”

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Irvine Welsh

Vali meid. Vali elu. Vali pangalaen; vali pesumasinad; vali autod; vali diivanil istumine ja nüri, vaimuvaese telemängu vaatamine, ajades näost sisse mingit kuradi rämpstoitu.
Vali aeglane mädanemine, enda täiskusemine ja -sittumine omas kodus täielikuks häbiks oma isekatele perssekeeratud jõnglastele, kelle sa oled sigitanud. Vali elu.

- lk 193

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Ernst Ludwig Kirchner, Artistin Marcella

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Ernst Ludwig Kirchner, Artistin Marcella, 1910

Quote below from: Norbert Wolf. Ernst Ludwig Kirchner 1880-1938: On the Edge of the Abyss of Time. Cologne, Germany: Taschen, 2003. (p. 36)

“The composition is marked by intrinsic monumentality and clarity. The girl’s pose is very casual, one knee raised, her head resting on her right hand. A relaxed, introverted mood, underscored by the cat asleep in the foreground, pervades the scene. Wine bottles in the background contribute to the bohemian atmosphere. The simplicity of the composition is deceptive, for its structure is extremely refined. The motifs are arranged along a rising diagonal from lower left to upper right. Smooth, homogenously opaque colour fields limited to a few intense hues, including a dominant green, and closed contours establish a compositional rhythm.”

Max Pechstein, Girl on a Green Sofa with a Cat, 1910

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Max Pechstein, Girl on a Green Sofa with a Cat, 1910

Quote below from: Norbert Wolf. Ernst Ludwig Kirchner 1880-1938: On the Edge of the Abyss of Time. Cologne, Germany: Taschen, 2003. (p. 36)

“The brilliance of Kirchner’s treatment is underscored in comparison with Pechstein’s portrait of Marcella, likewise done in 1910…”