Estética de Dostoyevski y Tarkovski: la creatividad como visión del hombre, del apocalipsis y de la posibilidad de salvación

Abstract

The poetics and aesthetics of Andrei Tarkovski (1932-1986) coincide with Dostoyevsky’s understanding of artistic creativity: art as an ideal, art as a salvation and the transfiguring power of art. The Russian writer, whose work is full of the contradictions of life, sees that for him, creating - to write in his case - was the only life possible. Just as Tarkovsky says, that art has to give us strength against a monstrously cruel world that rubs on us, in its nonsense, the absurd. This vision of artistic creation as a redemptive and saving illusion has threads that branch out across European culture, and is particularly strong in a cultural tradition such as the Russian, in which art becomes some kind of teacher of the soul. The work of both authors also illustrates how, in Russian tradition, the artist has always been a figure in which the philosopher and the poet or the philosopher and the artist are superimposed. This article proposes to illustrate how the concept of art as a magician who saves, and as an educator of the soul revert both in the literature of Dostoyevski, and in the Tarkovski cinema.