Louis Esterhuizen. Emanuella Amichai praat oor videodigte en haar pa, Yehuda

Tydens die vyfde ZEBRA Poetry Film Festival in Berlyn verlede jaar was daar ‘n eerste “Berlin-Tel Aviv Poetry Encounter” waarvolgens drie Israeliese videokunstenaars in samewerking met drie Duitse digters ‘n fassinerende projek van stapel gestuur het. Elke videokunstenaar moes naamlik saam met een van die digters ‘n visuele gedig, of te wel ‘poësiefilm’, skep. Hiervolgens was Emanuella Amichai (foto), dogter van Yehuda en een van Israel se vernaamste videokunstenaars, met Jan Wagner gekombineer vir dié opwindende projek.

In navolging hiervan het SJ Fowler ‘n onderhoud met Emanuella Amichai gevoer vir 3:AM Magazine. Op die vraag oor waarom sy die digkuns as videokunstenaar met film wens te kombineer, het sy soos volg geantwoord: “I believe that collaborations between artists from different forms could be a very interesting and inspiring process in general. Since I think that different art forms are actually different approaches to experience, and sharing these different approaches can be a very enriching experience. But collaborations really depend mostly on the chemistry between the artists involved whether it is a poet, a film maker a dancer or a director. I believe there can be a very wide and inspiring collaboration between poetry and film, as seen in some of the shorter films which concentrate on poetry as a visual medium […] I find some similarities between film and poetry: catching a feeling or thought and giving it a word or an image, but there are also differences between the two: film is basically a narrative artform, it may have a poetic form in it, but the classic form is narrative, where as poetry can be more open in structure, moving from different emotions, thoughts in a more associative manner. In film, words are usually used to describe the action that is seen, and in poems the words are the action itself.”

Yehuda Amichai

Yehuda Amichai

Oor haar pa, sekerlik een van die bekendste en mees gewaardeerde digters wêreldwyd, en sy invloed op haar werk as kunstenaar, het sy die volgende gesê: “I grew up with a father who was a poet and was also an extremely talented poet. He was 54 when I was born, so I knew him also as a known and appreciated poet. I guess I grew up experiencing art as fulfilling and rewarding. And yet since my father stayed a teacher his whole life, I also understood that being an artist is being able to be creative in many different aspects, like one should also have a stable independent occupation in times of need. My father said many times that for him, writing poetry is a hobby, and that he wants to keep it as a hobby so he will not have to write in order to pay the bills. And yet i saw how my father would perceive reality with an artistic way, he was writing the way he was talking about everyday things: by metaphors, they were very natural to him, with humor, and with imagination […]  So I grew up seeing that ones artistic passion can become a way of life, and that reality hides in it a whole world of feelings, smells, memories, pictures, color, movement and thought […] My father died when I was 21 , and his poems were actually a way for me to read about him, learn about him and in a way to talk to him. So I felt quite naturally to work with them. It was both very personal and challenging. I felt very free to interpret it in my own way, not only because he is my father, but also because the poems are very inviting and very open. They have the great qualities of musicality, movement, imagination and form […] Sometimes a poem can put into words a feeling or a situation in a way that is so clear that I feel gained a new emotion or memory. I also feel that way when reading my fathers poetry.”

Maar dit is teen die einde van die onderhoud wat Emanuella Amichai sekerlik die mooiste getuigskrif wat enige ouers wens om van sy of haar kind te ontvang, lewer: “Since my father was so known and loved I think he was basically fulfilled and he passed that feeling to his children. He received a lot of love and respect towards his art and I believe it made him feel more fulfilled as a person, and there for as a father, he was a very kind, calm and loving father […] And yet, although he was successful, he was in a way very modest, unlike the cliché of the miserable moody egocentric poet, he was a family man, and was really a kind and warm person, his inner world was of course very intense, but as a child I never noticed it. He was a father waiting for me after school with a warm lunch, and taking me to my ballet classes. I remember my father was very open minded and was very gentle towards his children’s decisions, (although like every parent he wanted them to have a good job and to be happy ). He was writing because it was his way to experience his reality, and that, I believe, is a true artist. So I am thankful that I grew up in a open minded, liberal house, and that I saw that being an artist can be fulfilling.”

Amen. Emanuella se videofilm, wat op Jan Wagner se gedig Christmas in Huntsville, Texas gebaseer is, kan by 3:AM Magazine bekyk word.

Vir jou leesplesier plaas ek egter ‘n gunstelinggedig van my allergunstelingdigter hieronder, gevolg as verdere leestoegif deur Marlise Joubert se lieflike omdigting van dié besonderse vers.

***

Ballad on the Streets of Buenos Aires

 

And a man waits in the street and meets a woman

precise and beautiful as the clock on the wall of her room

and sad and white as the wall that holds it

 

And she doesn’t show him her teeth

And she doesn’t show him her belly

but she shows him her time, precise and beautiful

 

And she lives on the ground floor next to the pipes

and the water that rises begins there in her wall

and he has decided on tenderness

 

And she knows the reasons for weeping

and she knows the reasons for holding back

and he begins to be like her, like her

 

And his hair will grow long and soft, like her hair

and the hard words of his language dissolve in her mouth

and his eyes will be filled with tears, like her eyes

 

And the traffic lights are reflected in her face

and she stands there amid the permitted and the forbidden

and he has decided on tenderness

 

And they walk in the streets that will soon appear in his dreams

and the rain weeps into them silently, as into a pillow,

and impatient time has made them both into prophets

 

And he will lose her at the red light

and he will lose her at the green and the yellow

and the light is always there to serve every loss

 

And he won’t be there when soap and lotion run out

and he won’t be there when the clock is set again

and he won’t be there when her dress unravels to threads in the wind

 

And she will lock his wild letters away in a quiet drawer

and lie down to sleep beside the water in the wall

and she will know the reasons for weeping and for holding back

and he has decided on tenderness

 

© Yehuda Amichai (vertaal deur Benjamin & Barbara Harshav)

*** 

Ballade vir die minnaars
na ʼn voorbeeld van Yehuda Amichai

En ʼn man ontmoet ʼn vrou laat in sy lewe
Gehawend en dor soos die landerye
Weemoedig en wit soos die stiltes van siësta

En sy toon hom meteens haar honger mond
En sy toon hom meteens die skeure in haar hart
En sy gee hom al haar ure, verlate en verwond

En sy woon op die grond van haar skamel besittings
En die reën wat val begin daar in haar oë
En hy besluit om sag te wees

En sy ken die gesprek tussen tafeldoek en eetgerei
En die mes en die vurk van soveel jare
Maar langsaam neem hy die hef in die hand

En sy hare word lank soos verse, en sag, soos hare
En sy woorde ryg oor hare saam met stiltes en verlange
En vind gestalte in die uitroep van haar liggaam

En die vlamme van ʼn vuur flits oor hul gesigte
En hulle staan daar met hul rûe na die strak verlede
En hy besluit om sag te wees

En hulle stap die gloed van somers blindelings binne
En die woorde word meer soos ʼn vallei met vrugte
En die ongeduld van seisoene verander hulle in minnaars

En hy sal haar elke dag daarna by die tafel laat sit
En hy sal haar met nuwe disse en eetgerei verlei
En die ligte van kers met adagio’s en jazz vermeng

En hulle sal nog daar wees as die najaar verkrummel
En hulle sal daar wees as die tyd verlore raak
En hulle sal daar wees as linnedoek hulle skuifelend bedek

En sy sal die versugting van sy verse in die vlees toevou
En die mes en die vurk van jarelange saamwees
En hulle sal die woorde geniet wat brood geword het
Soos brood sal hulle mekaar bly eet en vermeerder
Want hy het besluit om sag te wees

 

© Marlise Joubert (uit: passies en passasies, 2007: Protea Boekhuis)

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2 Kommentare op “Louis Esterhuizen. Emanuella Amichai praat oor videodigte en haar pa, Yehuda”

  1. Pieter Wolmarans :

    Twee aangrypende liefdesverse. Die volgende reëls gaan nog lank by my spook:
    “En hulle sal nog daar wees as die najaar verkrummel
    En hulle sal daar wees as die tyd verlore raak
    En hulle sal daar wees as linnedoek hulle skuifelend bedek”
    Dankie, Louis.

  2. Breyten Breytenbach :

    Verbasend hoe baie sy na haar moeder, Hannah, lyk. Dieselfde kyk, enerse rooi hare. Die vrou vir wie Yehuda sulke wonderlike liefdesverse geskryf het.
    En ek stem saam met Pieter Wolmarans – inderdaad twee wonderskone gedigte.
    Sien, Louis – reeds net dit maak dit alles die moeite werd!

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