GESAMTKUNSTWERK

Above: Scene from Stalker, Dir. Andrei Tarkovsky (1979) 

 

In order to achieve my own total work of art, I needed to stay true to the idea of a dominant central theme that unified the many art forms at play to make a strong social and dramatic statement.  Without this, there would be no way to tell a story that an audience could be dramatically interested in, and without engaging an audience, Gesamtkunstwerk becomes meaningless.  While I drew imagery and inspiration from a number of sources as themes in this work, the foundation of my story was drawn from the 1979 film Stalker by Andrei Tarkovsky. 

 

The film follows a group of men traveling from their home “zone” to a mysterious room that they believe holds the power to grant their wishes.  The group is led by the "stalker," who is depicted in the video above.  Throughout the film, strange occurrences and the fears of the characters suggest that there is a supernatural power at work in this strange room and the lands surrounding it, though the root of this power is never revealed.  The relationship between hardness and death established in the Stalker's monologue recurrs throughout the film in the character's words and actions towards the powerful room and their faith in its abilities.

 

Through continued research of this theme, I found that Tarkovsky drew this theme from Taoist philosophy, which he was deeply involved with at the time that he created Stalker.  At the same time, Tarkovsky was dissatisfied with the industrial culture of his Russian homeland, and believed that these words and this theme could remind viewers to return to a state that valued spirituality and faith over material and economic progress.  I not only connected to this theme on a personal level, but found it just as relevant to the society and culture in which I was creating my own work as it was in Tarkovsky’s time.  In keeping with Wagner’s claim that Gesamtkunstwerk could not be created by one man alone, I thought it appropriate to create my own work as an homage to my predecessors; those who inspired me.  By working from Tarkovsky’s thematic material, I would always be in a state of synthesis, and thus closer to “total” art.  In addition, in this single monologue, I found a beautiful potential for movement expression. I could see how a dance piece could portray this theme and still leave me with the ability to include my own voice, imagery and sub-context.  Therefore, I used this theme from the film Stalker, as well as images and elements from the film, to direct my decision-making in the piece.