著者

亀井 克朗

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.50, no.2, pp.61-71, 1999-09-30

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In this paper I approach the Tarkovsky's world by analyzing three scenes in "The Sacrifice" (1986) in terms of the reception. First, I analyze the character's actions in the scene of a burning house by making a clear distinction between the mutual communication of the characters in the dramatic world and their communication to the spectator. When Alexander kneels to Maria, and his behavior is shown to the spectator, the latter perceives a saint in him. Second, I analyze one of the shots in the sequence of the beginning of a nuclear war. In this shot, a corporal precommunication between Alexander and the spectator brings the spectator to understand that what happens to Alexander here does not belong to the earthly experience. Finally, I take up the last shot of this film in which the light shines out directly toward the spectator over a dead tree, and brings it into blossom. This light comes from another world, as in Holy Icon of the Orthodox Church, and makes the spectator's body sacred. The Tarkovsky's work lets the spectator experience a spiritual world owing to its various elaborate contrivances.