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Dienų raštai
Diárias, de jonas mekas (dienorašciai) aparece pela primeira vez em português e em espanhol. Trabalho a dez mãos realizado pelo conluio cisplatino .txt /RIVERÃO a tradução tomou três anos de empenho, tornando-se possível pelo auxílio de parceiros lituanos. Jonas mekas viu nascer e florescer o projeto, mas não sua conclusão, falecendo no início de 2019 pouco antes do último ponto final. Esta edição expõe a poética do conhecido happy man e celebrado filmmaker.
- GenresPoetry
391 pages, Paperback
First published January 1, 1998
About the author
Jonas Mekas
116 books199 followersJonas Mekas is a Lithuanian-American filmmaker, poet and artist who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals world-wide.
In 1944, Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas (1925–2011), were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946 to 1948, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. Two weeks after his arrival, he borrowed the money to buy his first Bolex 16mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel’s pioneering Cinema 16, and he began curating avant-garde film screenings at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street.
In 1954, together with his brother Adolfas Mekas, he founded Film Culture, and in 1958, began writing his “Movie Journal” column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative and the Filmmakers' Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avant-garde film. He was part of the New American Cinema, with, in particular, fellow film-maker Lionel Rogosin. He was a close collaborator with artists such as Andy Warhol, Nico, Allen Ginsberg, Yoko Ono, John Lennon, Salvador Dalí, and fellow Lithuanian George Maciunas.
In 1964, Mekas was arrested on obscenity charges for showing Flaming Creatures (1963) and Jean Genet’s Un Chant d’Amour (1950). He launched a campaign against the censorship board, and for the next few years continued to exhibit films at the Film-makers’ Cinemathèque, the Jewish Museum, and the Gallery of Modern Art. From 1964 to 1967, he organized the New American Cinema Expositions, which toured Europe and South America and in 1966 joined 80 Wooster Fluxhouse Coop.
In 1970, Anthology Film Archives opened on 425 Lafayette Street as a film museum, screening space, and a library, with Mekas as its director. Mekas, along with Stan Brakhage, Ken Kelman, Peter Kubelka, James Broughton, and P. Adams Sitney, began the ambitious Essential Cinema project at Anthology Film Archives to establish a canon of important cinematic works.
As a film-maker, Mekas' own output ranges from his early narrative film (Guns of the Trees, 1961) to “diary films” such as Walden (1969); Lost, Lost, Lost (1975); Reminiscences of a Journey to Lithuania (1972), Zefiro Torna (1992), and As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, which have been screened extensively at festivals and museums around the world.
Mekas expanded the scope of his practice with his later works of multi-monitor installations, sound immersion pieces and "frozen-film" prints. Together they offer a new experience of his classic films and a novel presentation of his more recent video work. His work has been exhibited at the 51st Venice Biennial, PS1 Contemporary Art Center, the Ludwig Museum, the Serpentine Gallery, and the Jonas Mekas Visual Arts Center.
In the year 2007, Mekas released one film every day on his website, a project he entitled "The 365 Day Project."[2] Since the 1970s, he has taught film courses at the New School for Social Research, MIT, Cooper Union, and New York University.
Mekas is also a well-known Lithuanian language poet and has published his poems and prose in Lithuanian, French, German, and English. He has published many of his journals and diaries including "I Had Nowhere to Go: Diaries, 1944–1954," and "Letters from Nowhere,
In 1944, Mekas left Lithuania because of war. En route, his train was stopped in Germany and he and his brother, Adolfas Mekas (1925–2011), were imprisoned in a labor camp in Elmshorn, a suburb of Hamburg, for eight months. The brothers escaped and were detained near the Danish border where they hid on a farm for two months until the end of the war. After the war, Mekas lived in displaced person camps in Wiesbaden and Kassel. From 1946 to 1948, he studied philosophy at the University of Mainz and at the end of 1949, he emigrated with his brother to the U.S., settling in Williamsburg, Brooklyn, New York. Two weeks after his arrival, he borrowed the money to buy his first Bolex 16mm camera and began to record moments of his life. He discovered avant-garde film at venues such as Amos Vogel’s pioneering Cinema 16, and he began curating avant-garde film screenings at Gallery East on Avenue A and Houston Street, and a Film Forum series at Carl Fisher Auditorium on 57th Street.
In 1954, together with his brother Adolfas Mekas, he founded Film Culture, and in 1958, began writing his “Movie Journal” column for The Village Voice. In 1962, he co-founded Film-Makers' Cooperative and the Filmmakers' Cinematheque in 1964, which eventually grew into Anthology Film Archives, one of the world’s largest and most important repositories of avant-garde film. He was part of the New American Cinema, with, in particular, fellow film-maker Lionel Rogosin. He was a close collaborator with artists such as Andy Warhol, Nico, Allen Ginsberg, Yoko Ono, John Lennon, Salvador Dalí, and fellow Lithuanian George Maciunas.
In 1964, Mekas was arrested on obscenity charges for showing Flaming Creatures (1963) and Jean Genet’s Un Chant d’Amour (1950). He launched a campaign against the censorship board, and for the next few years continued to exhibit films at the Film-makers’ Cinemathèque, the Jewish Museum, and the Gallery of Modern Art. From 1964 to 1967, he organized the New American Cinema Expositions, which toured Europe and South America and in 1966 joined 80 Wooster Fluxhouse Coop.
In 1970, Anthology Film Archives opened on 425 Lafayette Street as a film museum, screening space, and a library, with Mekas as its director. Mekas, along with Stan Brakhage, Ken Kelman, Peter Kubelka, James Broughton, and P. Adams Sitney, began the ambitious Essential Cinema project at Anthology Film Archives to establish a canon of important cinematic works.
As a film-maker, Mekas' own output ranges from his early narrative film (Guns of the Trees, 1961) to “diary films” such as Walden (1969); Lost, Lost, Lost (1975); Reminiscences of a Journey to Lithuania (1972), Zefiro Torna (1992), and As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty, which have been screened extensively at festivals and museums around the world.
Mekas expanded the scope of his practice with his later works of multi-monitor installations, sound immersion pieces and "frozen-film" prints. Together they offer a new experience of his classic films and a novel presentation of his more recent video work. His work has been exhibited at the 51st Venice Biennial, PS1 Contemporary Art Center, the Ludwig Museum, the Serpentine Gallery, and the Jonas Mekas Visual Arts Center.
In the year 2007, Mekas released one film every day on his website, a project he entitled "The 365 Day Project."[2] Since the 1970s, he has taught film courses at the New School for Social Research, MIT, Cooper Union, and New York University.
Mekas is also a well-known Lithuanian language poet and has published his poems and prose in Lithuanian, French, German, and English. He has published many of his journals and diaries including "I Had Nowhere to Go: Diaries, 1944–1954," and "Letters from Nowhere,
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Displaying 1 - 9 of 9 reviews
November 5, 2015
,,Aš
norėjau
įsiklausyt į tylą.
Dabar žinau:
kad tyla niekados neprabyla,
kad aš esu toji tyla.
Aš maniau, kad esmė
yra
pasislėpusi užu
klausimų -
dabar aš suprasti imu:
gyvenimas prasideda užu klausimų,
kad aš tas
klausimas
esu."
norėjau
įsiklausyt į tylą.
Dabar žinau:
kad tyla niekados neprabyla,
kad aš esu toji tyla.
Aš maniau, kad esmė
yra
pasislėpusi užu
klausimų -
dabar aš suprasti imu:
gyvenimas prasideda užu klausimų,
kad aš tas
klausimas
esu."
This entire review has been hidden because of spoilers.
April 1, 2018
kažkas tarp 2/5 ir 5/5, bet visgi pramušė
March 22, 2020
Prieš skaitant knygą ar apskritai Jono Meko literatūros darbus, siūlyčiau pažiūrėti jo kinematografinius darbus. Manau, kad taip lengviau bus suprasti jo poezijos formą, turinį, struktūrą ir esmę.
Su eilėraščio formomis labai žaidžiama: autorius rašo ir tradicine forma, baltomis eilėmis ar tiesiog išvis skelia sakinį taip, jog vienoje eilutėje - tik vienas žodis. Asmeniškai man tokia žaidimo forma įdomi, tačiau po kiek laiko jau pabosta, nes žinai, ko gali tikėtis.
Meko poezija labai korealiuojasi su jo filmais, kadangi ir filmuose, ir poezijoje jaučiamas fragmentiškumas arba filmo konstravimas. Atrodo, lyg eilėraštis būtų sudėliotas arba "sumontuotas" kaip filmas iš atskirų scenų: vienoje eilutėje viena scena, kitoje - jau kita. Tokie eilėraščiai dažnai nėra ilgi ir eilutė neužima daug vietos. Eilėraščio nuotaiką ir pajautimą, manau, galima sustiprinti prieš tai pažiūrėjus jo kurtus filmus, kadangi jų kinematografinė forma - labai panaši (filmas montuojamas, "klijuojamas" iš atskirų, kartais - visiškai nesusijusių kadrų) bei turinys dažnai vienodas.
Kalbant abstrakčiai, Meko eilėraščiai apima nemažai nuotaikų ir temų: gimtinė, liūdesys, gamta, vienatvė, draugai, Lietuva, Niujorkas ir t.t. Vienas iš įdomiausių man radinių buvo jo politiniai eilėraščiai apie savo šalį, Šiaurės Vietnamą ir Jugoslavijos karą.
Su eilėraščio formomis labai žaidžiama: autorius rašo ir tradicine forma, baltomis eilėmis ar tiesiog išvis skelia sakinį taip, jog vienoje eilutėje - tik vienas žodis. Asmeniškai man tokia žaidimo forma įdomi, tačiau po kiek laiko jau pabosta, nes žinai, ko gali tikėtis.
Meko poezija labai korealiuojasi su jo filmais, kadangi ir filmuose, ir poezijoje jaučiamas fragmentiškumas arba filmo konstravimas. Atrodo, lyg eilėraštis būtų sudėliotas arba "sumontuotas" kaip filmas iš atskirų scenų: vienoje eilutėje viena scena, kitoje - jau kita. Tokie eilėraščiai dažnai nėra ilgi ir eilutė neužima daug vietos. Eilėraščio nuotaiką ir pajautimą, manau, galima sustiprinti prieš tai pažiūrėjus jo kurtus filmus, kadangi jų kinematografinė forma - labai panaši (filmas montuojamas, "klijuojamas" iš atskirų, kartais - visiškai nesusijusių kadrų) bei turinys dažnai vienodas.
Kalbant abstrakčiai, Meko eilėraščiai apima nemažai nuotaikų ir temų: gimtinė, liūdesys, gamta, vienatvė, draugai, Lietuva, Niujorkas ir t.t. Vienas iš įdomiausių man radinių buvo jo politiniai eilėraščiai apie savo šalį, Šiaurės Vietnamą ir Jugoslavijos karą.
December 5, 2016
„Ką aš mylėjau? Aš mylėjau skausmą, popierį, rašalą, žodžius.”
March 25, 2018
Lengvos eilės, padedančios atsikvėpti nuo nūdienos rimties.
June 12, 2018
<...>
Aš tau sakau, tik primenu:
kad žmogaus gyvenimas yra melas, jeigu jo žodžiai
nėra paliudyti veiksmais;
kad žmogus neturi kalbėti apie kitų laisvę ar
nelaisvę,
negali kitų laisvės kritikuoti, jeigu jis savo
paties laisvės veiksmu neįrodo, nepagrindžia;
<...>
kad Lietuva niekados tavęs neišdavė nei išsigynė:
tu jos išsigynei, ją palikai,
kad tu ją apvogi, jai nepadėdamas, jos vengdamas,
ją apkalbėdamas, ją kitiems palikdamas.
<...>
// Apie Lietuvą ir laisvę, 1961 m. sausio 2 d., p. 168-171.
Aš tau sakau, tik primenu:
kad žmogaus gyvenimas yra melas, jeigu jo žodžiai
nėra paliudyti veiksmais;
kad žmogus neturi kalbėti apie kitų laisvę ar
nelaisvę,
negali kitų laisvės kritikuoti, jeigu jis savo
paties laisvės veiksmu neįrodo, nepagrindžia;
<...>
kad Lietuva niekados tavęs neišdavė nei išsigynė:
tu jos išsigynei, ją palikai,
kad tu ją apvogi, jai nepadėdamas, jos vengdamas,
ją apkalbėdamas, ją kitiems palikdamas.
<...>
// Apie Lietuvą ir laisvę, 1961 m. sausio 2 d., p. 168-171.
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March 5, 2023A, ir vėl
turiu,
turiu vėl dieną,
vėl naują
dieną vėl
pradėt iš
naujo-.
turiu,
turiu vėl dieną,
vėl naują
dieną vėl
pradėt iš
naujo-.
February 22, 2019
Labai labai žaviuos Jono Meko nugyventu gyvenimu, bet šitie tekstai gal ne visai patys tie, kurie jo gilų žavesį atskleidžia. Nors visai jaukus jausmas paskaityt, ką Mekas mano metų būdamas rašė... Žodžiu, konkrečiai šita knyga labiau pavartymui karts nuo karto, nei skaitymui visa širdim. O šiaip Meko - žemės gyventojo užburiančio būta, visa tų esama ❤
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April 16, 2016yra vertimas. (Dienų raštai)
This entire review has been hidden because of spoilers.
Displaying 1 - 9 of 9 reviews