With the beginning of life, comes the thirst for truth, whereas the ability to lie is gradually acquired in the process of trying to stay alive.
Gao XingjianRead
I was born Chinese, and I write in Chinese. I don't think there's any need to evade this... to a writer, as to a person, what matters is not his political label or his nationality, but whether he is a person and whether his work is worth looking at.
Interpretation
The essence of a writer is their humanity and the quality of their work, not their nationality or political identity.
Gao Xingjian emphasizes that his identity as a Chinese writer is inseparable from his artistic expressions. However, he argues that true value lies not in political affiliations or national origin, but in the intrinsic worth of the writer's work and their humanity. This perspective invites readers to appreciate literature beyond superficial labels and recognize the universal qualities that resonate within art.
In practice
In a literary discussion on identity, this quote can illustrate the importance of universal values in art.
With the beginning of life, comes the thirst for truth, whereas the ability to lie is gradually acquired in the process of trying to stay alive.
For me, writing [was] a question of survival...I could not trust anyone, even my family. The atmosphere was so poisoned. People even in your own family could turn you in.
Young man, nature is not frightening, it's people who are frightening! You just need to get to know nature and it will become friendly. This creature known as man is of course highly intelligent, he's capable of manufacturing almost anything from rumours to test-tube babies and yet he destroys two to three species every day. This is the absurdity of man.
If you're not perfectly conscious of yourself, that self can be tyrannical; in relationship to others, anyone can become a tyrant. That's why no one can be a Superman. You have to go beyond yourself with a 'third eye' - self-awareness - because the one thing you cannot flee is yourself.
Since childhood, I'd dreamed of making a film, but producers in France and Germany wanted to make commercial films with chinoiserie. I refused.
Literature transcends national boundaries, racial boundaries. It goes deep into the issues that concern all human beings. That is why, when people read Greek tragedy - it doesn't matter who reads it - they are still moved by it.
I saw Quentin Tarantino's 'Django Unchained,' and you could say a lot of things against it, but it was incredible fun. I don't like blood and gore and I am very squeamish about violence, but Tarantino's violence is actually funny.
I don't make unconventional stories; I don't make non-linear stories. I like linear storytelling a lot.
The director’s task is to recreate life, its movement, its contradictions, its dynamic and conflicts. It is his duty to reveal every iota of the truth he has seen, even if not everyone finds that truth acceptable. Of course an artist can lose his way, but even his mistakes are interesting provided they are sincere. For they represent the reality of his inner life, of the peregrinations and struggle into which the external world has thrown him.
Generally, we use light to illuminate other things. I like the thingness, the materiality of light itself. So it feels like it's occupying the space, making a plane, being something that was there, not just passing through. Because light is just passing through. I make these spaces that seem to arrest it for our perception.
It sometimes takes a foreigner to come and see a place and paint it. I remember someone saying they had never really noticed the palm trees here until I painted them.
I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.
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