tekst written by ALAN KOSTREN^I]

fotografija photo by KADROVI IZ

FILMA hOLLY mOUNTAIN aLEJANDRA
JODOROWSKOG, 1973. / FRAMES FROM
THE MOVIE hOLLY mOUNTAIN BY
aLEJANDO JODOROWSKY, 1973

alejandro jodorowsky

UPOZORENJE! SADR@I
SMISAO @IVOTA
WARNING! CONTAINS
THE MEANING OF LIFE
THE ALCHEMIST: Sit down. I promised a great secret

THE ALCHEMIST: Sit down. I promised a great secret

and I will not disappoint you. Is this the end of our

and I will not disappoint you. Is this the end of our

adventure? Nothing has an end. ...1

adventure? Nothing has an end.1

Tarot je {pil od sedamdeset osam karata. Tu postoje

The Tarot is a pack of seventy-eight cards. There

~etiri boje, kao i u suvremenim kartama za igranje,

are four suits, as in modern playing cards, which

koje su iz njega nastale. Me|utim dvorskih karata

are derived from it. But the Court cards number four

ima ~etiri umjesto tri. Uz to tu su i dvadeset i dvije

instead of three. In addition, there are twenty-two

karte koje se nazivaju aduti, od kojih svaka

cards called Trumps, each of which is a symbolic

predstavlja po jednu simboli~ku sliku vlastitog

picture with a title itself. At first sight one would

naziva. Na prvi pogled bi se moglo pomisliti da

suppose this arrangement to be arbitrary, but it is not.

je ovakav raspored proizvoljan, ali nije tako. On

It is necessitated, as will appear later, by the structure

je nuno uvjetovan strukturom Svemira, posebno

of the universe, and in particular of the Solar System,

Sun~evog sistema, kako ga simboli~ki predstavlja

as symbolized by the Holy Qabbalah.2

sveta kabala.2

164

ATOUT o LUDA, ZRAK, ALEPH

ATOUT3 0 THE FOOL, AIR, ALEPH

Alejandro Jodorowsky je sasvim posebna i samosvo-

Alejandro Jodorowsky is a peculiar and unique

jna pojava u svijetu filma i popularne umjetnosti, ali

figure in the world of film and pop art, but we will

ga moemo jasnije razumjeti promotrimo li ga

better understand him if we see him against the

naspram dva potpuno razli~ita fenomena kao poza-

background of two different phenomena. The first

dine. Jedan je psihodeli~na revolucija 60-ih, sa cije-

is the psychedelic revolution of the 1960s with its

lom svojom subkulturom, od muzike do filozofije

range of subcultures from music to Timothy Learys

Timothyja Learyja, a drugi je kontekst magijskog

philosophy, and the second is the magic realism of

realizma latinoameri~kih pisaca poput Borgesa i

Latin American authors such as Borges and Marquez.

Marqueza. Dok je pripadnost prvima izravna, od

While there is an immediate relationship with the

druenja s Johnom Lennonom i drugim pop-ikonama

first background, from Jodorowskys acquaintance

tog vremena do citata (kao, na primjer, ironiziranje

with John Lennon and other pop icons of the time

kultnih gurua kao {to su Leary ili pak beatnik Gins-

to citations such as his irony of the cult gurus like

berg u filmu The Holy Moutain u kratkoj sekvenci

Lear y or the beatnik Ginsberg in a brief modern

suvremenog Panteona prije odlaska na samo Sveto

pantheon sequence in The Holy Mountain (just before

Brdo), dotle je ova potonja veza s latinoameri~kim

the climb up the Holy Mountain), the relation with

49

piscima vi{e metafizi~ka upravo zbog specifi~nog

the Latin American authors is rather metaphysical;

spoja realnog i imaginarnog, magijsko-ritualnog i

it combines a specific blend of the real, imaginary,

obi~nog. Jodorowskog je te{ko staviti u uobi~ajene

magical/ritualistic, and the ordinary. Jodorowsky is

autorske obrasce; on je reiser, autor stripova, panto

hard to pigeon-hole; he is a director, comic writer,

mimi~ar, psiholog, filozof, kompozitor, mistik, kazali{ni

mime artist, psychologist, philosopher, composer,

umjetnik, glumac... On je tako|er poznat i po svojoj

mystic, theatre artist, and actor. He is also known for

ivotnoj opsesiji i ljubavi prema tarotu, ~iju je simboli

his lifes obsession with the Tarot, whose symbolism,

ku, kodove i zna~enja ugradio u svoj filmove, a pose-

meaning, codes, and interpretation he integrated in

bice u The Holy Mountain. Njegov kasniji scenaristi~ki

his films, especially in The Holy Mountain. His later

rad na stripovima nije ni{ta manje ozbiljan. Pomak u

comic writing is no less important; the shift to this

taj medij omogu}io mu je slobodu i neovisnost i u

medium gave him freedom from budget limitations and

smislu budeta za realizaciju njegovih ideja, ali i bijeg

censorship. His philosophy has never been too solemn

od cenzorskih {kara. Njegova filozofija nikad nije pa-

or self-conceited to prevent him from trying profane

tila od smrtne ozbiljnosti i umi{ljenosti koja bi ga

pop forms, and this is why he has always been on the

spre~avala u tome da se ogleda u profanim pop forma

margins right where the New is born.

tima i upravo je stoga uvijek bio na marginama, upra

vo tamo gdje se stvara Novo.
ATOUT XVII ZVIJEZDA, VODENJAK, HE

166

ATOUT XVII THE STAR, AQUARIUS, HE

Who is Jodorowsky?
I have no nationality. I have no name. I have no sex. I

Tko je Jodorowsky?

have no definition. And when you are like that, miracles

Ja nemam nacionalnost. Ja nemam ime. Ja nemam

start to happen.4

spol. Ja nemam definiciju. I kad si takav, ~uda se

Alejandro Jodorowsky was born in the small north

po~inju doga|ati.

Chilean port of Iquique on 7 February 1929. When

Alejandro Jodorowsky je ro|en 7. velja~e 1929. u

asked about his nationality or cultural or religious

Iquiqueu, maloj luci na sjevernoj obali ^ilea. Kada

identity, he merely replies that he is a Jodorowskian.

ga se slu~ajno zapita o nacionalnosti, o kulturnom

... My parents were Russian I was born in Chile

ili religioznom identitetu, on jednostavno odgovara

the (Chilean) children didnt accept me because

da je on Jodorowskijan. ... Moji su roditelji ruski

I was Russian the young men didnt accept me

idovi, a ja sam ro|en u ^ileu ... ~ileanska su me

because I was a Jew the French didnt accept

djeca izbjegavala jer sam bio Rus ... mladi}i me

me because I was a Chilean the Mexicans didnt

nisu prihva}ali jer sam bio idov ... Francuzi su me

accept me because I was French the Americans

izbjegavali jer sam ^ileanac ... Amerikanci su

think I am Mexican after ten years, I will move to

mislili da sam Meksikanac ... za deset godina }u

another planet, They wont accept me because they

preseliti na drugi planet i ni tamo me ne}e prihvatiti

will think Im an American.

jer }e misliti da sam Amerikanac ...3

Jodorowskys father was a Russian Jew who arrived

Njegov je otac ruski idov koji je u ^ile stigao 1905.

in Chile in 1905 as a son of a poor shoemaker.

kao sin siroma{nog postolara. [to kasnije Jodorowsky

Jodorowsky would later cynically remark that all the

cini~no primje}uje Poput svih Yiddisha ... po~nu

Yiddish start to sell shoes and the second generation

kao postolari da bi im druga-generacija postala

become psychoanalysts alluding to his own study of

psihoanaliti~arima aludiraju}i na svoj zapo~eti studij

psychology and philosophy at the University of Santiago,

psihologije i filozofije na sveu~ili{tu u Santiagu. Otac

which he never completed. This is how Jodorowskys

Jodorowskog se tako te 1905. upustio u veliku ivotnu

father embarked empty-pocketed on a great life

avanturu, bez novaca, kratko koketiraju}i sa cirkuskom

adventure back in 1905, flirted with a circus troupe

grupom, naposljetku se oeniv{i bogatom idovkom

for a while, and eventually married into a fine and rich

iz fine obitelji sa sjevera ^ilea. Unato~ uozbiljenju

Jewish family from the north of Chile. Despite having

posjete cirkusu oca i sina nastavile su se i kasnije, tako

settled down, Jodorowsky father and son continued

da prva sje}anja malog Jodorowskog imaju fellinijevsko

to visit circuses, which left a Fellini-like imprint on the

ozra~je ... kao malo dijete drao sam malog lava koji

childs earliest memories; he would hold in his hands

je ro|en u cirkusu ... a kad sam se vra}ao nazad u grad,

a baby lion born in the circus, and when hed return to

onda bi me posjeli na vrh slona ...

the town, hed be seated on an elephant.

ATOUT XVI KULA, MARS, PE

ATOUT XVI THE TOWER, MARS, PE

... The fundamental quality of mirror is not to reflect,

The fundamental quality of mirror is not to reflect,

but to be broken...

but to be broken.

Godine 1953. Jodorowsky napu{ta roditeljski dom i

In 1953 Jodorowsky left home and Chile never to

^ile da se vi{e nikad ne bi vratio ni javio, da bi jedini

return or get back in touch. The only contact with his

168

kontakt s domovinom bila pisma djevojci, koja nisu

native country were letters to his girlfriend, but these

dugo potrajala. ...nisam to u~inio stoga {to nisam

did not last long. I never returned. Not because I didnt

volio ^ile. Volio sam ga. To je bio moj raj. Ali imao sam

like Chile. I loved it. It was my paradise. But I needed to

potrebu to presje}i ... jednostavno nisam elo imati

cut with that ... because I dont want to have roots....

korijene ... Jodorowsky je brodom stigao u Barcelonu,

Jodorowsky sailed to Barcelona, and continued to

da bi zatim nastavio za Pariz ...Pariz je za sve nas

Paris: For us Chileans Paris was the centre of the

^ileance bio centar svijeta i poezije ... mit .. Prvu

world and poetry a myth The first thing he did

stvar koju je u~inio po dolasku u Pariz bilo je da nazove

on arrival was to phone Andr Breton, the father of

Andre Bretona, oca nadrealizma. Uslijedio je bizaran

Surrealism. The conversation was pretty bizarre: This

telefonski razgovor ... Ovdje Jodorowsky ... Tko je

is Jodorowsky. Whos Jodorowsky? A young man of

Jodorowsky? ... Dvadeset ~etverogodi{nji mladi} koji

twenty-four who has come to revive Surrealism. Here I

je do{ao oivjeti nadrealizam. Eto me tu i elio bih

am, and I want to see you. Come tomorrow, its very

Vas vidjeti ... Do|ite sutra, sad je vrlo kasno ... Ne,

late now. No, now! but when Breton remained firm

sad! ...-nakon Bretonovog inzistiranja na tome da je

that he could not receive him immediately, Jodorowsky

nemogu}e da ga primi odmah, Jodorowski mu uzvra}a

replied: Its not Surrealist of you to not see me, so

... Niste nadrealist ako me ne moete primiti sada,

I shall never be, and he hung up.

tako da se onda ne}emo nikad vidjeti.

A year later Jodorowsky joined the troupe of Marcel

Godinu dana kasnije Jodorowsky se pridruio kazali{noj

Marceau, who introduced him into the circle of the

trupi Marcela Marceaua pomo}u koje ulazi u krugove

Sorbonne intellectuals, Saint Germain existentialists

.. intelektualaca sa Sorbone, ... egzistencijalista sa

people who were like the punks of that time. Growing

Saint Germaina ... ljudi koji su bili punkeri tog vremena

up in this intellectual environment, he ventured into

Stasaju}i u takvom intelektualnom kruenju, 1957.

the world of moving pictures in 1957 with a silent

oku{ava se u svijetu pokretnih slika nijemom filmskom

adaptation of a Thomas Mann short story. The film

adaptacijom novele Thomasa Manna. Film je odu{evio

thrilled Jean Cocteau, who wrote a prologue for it. At

Jeana Cocteaua, koji je za njega i napisao uvod.

the same time his theatre studies led him to another

Paralelno s to prvom filmskom avanturom studij

theatrical giant and anarchist intellectual, champion of

kazali{ta logi~no ga je vodio k jednom drugom

the intuitive and sub/superconscious, Antonin Artaud5.

kazali{nom velikanu i intelektualnom anarhisti,

Artauds ideas about the alchemy of the theatre as a

zagovaratelju intuitivnog i podsvjesnog/nadsvjesnog

civilized ritual which changes the soul of the performer

Antoninu Artaudu4. Artaudove ideje o alkemijskoj

and audience alike correspond to Jodorowskys belief

mo}i kazali{ta kao kultiviranog rituala koji transformira

that art has to affect the way people look at things,

du{u performera i gledatelja sukladne su uvjerenju

and that the artist is a magician who can change

Jodorowskog da je zada}a umjetnosti promijeniti na~in

reality. Jodorowskys methods thus embodied Artauds

gledanja koji ljudi imaju, a da je umjetnik mag koji

premise that art should equal life.

moe promijeniti stvarnost. Artaudov znak jednakosti

izme|u ivota i umjetni~kog dijela u potpunosti je
na{la utjelovljenje u metodama Jodorowskog.
ATOUT XIV UMJETNOST, STRIJELAC, SAMEKH

ATOUT XIV ART, SAGITTARIUS, SAMEKH

Gurdjieff says we were not born with a soul, but we
have to make it.
In 1960, seven years after he left Latin American soil,

Gurdjieff kae da nismo ro|eni s du{om, ve} da je

Jodorowsky left Europe, not for his native Chile, but

na{a zada}a napraviti je.

for Mexico, where he staged over a hundred plays in

Godine 1960., sedam godina nakon {to je prvi put

six years, mostly recent avant-garde such as Ionesco

napustio rodno tlo June Amerike, Jodorowsky napu{

and Beckett. Avant-garde scripts and radical stage-

ta Europu i vra}a se, ali ne u rodni ^ile ve} u Meksi

directing aroused the fury of the right-wing public,

ko, gdje u idu}ih {est godina postavlja vi{e od stotinu

but also packed the theatres. By 1966 Jodorowsky

predstava, mahom tada recentnu knjievnu avangardu

became notorious as a Mexican stage-director, and

Ionesca, Becketta ... Avangardni tekstovi i radikal

theatre was no longer a challenge to him. Scandal

na reija izazivaju bijes konzervativne desne javnosti,

followed me wherever I went, even though I was not

ali istovremeno pune dvorane. Do 1966. Jodorowsky

looking for it ... the society Mexican was simply not

je postao poznat, ali na zlu glasu meksi~ki kazali{ni

ready. Jodorowsky returned to film as an art form

redatelj: Tim statusom iscrpio je izazov koje mu je

preferred by Ar taud himself. Between 1966 and

kazali{te prualo. . . . Skandal me neprekidno pratio,

1968 he shot his first featured film Fando y Lis, a play

iako ga ja nisam nikad traio ... dru{tvo (meksi~ko)

adaptation he staged two years earlier.

jednostavno nije bilo spremno ... Jodorowski se

In every movie, I put everything I am, also what I am

ponovo vra}a filmu, vidu umjetnosti koju je zagovarao

not. Searching, everything is a search. A search of

i najvi{e cijenio i Artaud. Jodorowsky od 1966. do

expression, knowledge, a search of emotions.

1968. snima prvi pravi dugometrani film Fando Y

Yet only the 1970 New York releases of his second

Lis, filmsku adaptaciju kazali{ne predstave koju je

film El Topo launched Jodorowsky on the international

postavio dvije godine ranije.

film stage. At first screenings were private in the

... U svaki film unesem sve {to jesam, ali tako|er

Museum of Modern Art (MoMA), and only thanks to

i {to nisam. Traganje. Sve je traganje. Traganje za

film enthusiast and distributor Ben Barenholtz did it

izrazom, znanjem, emocijama ...

hit the big screen, scheduled for weekend midnights,

Me|utim na svjetsku filmsku scenu Jodorowsky

thus star ting the Midnight Movie movement that

je stupio svojim drugim filmom El Topo 1970.

opened doors to cult films such as John Waterss

projekcijama u New Yorku. Film se isprva prikazivao

Pink Flamingos (1972) and David Lynchs Eraserhead

isklju~ivo na privatnim projekcijama u Museum of

(1977).

Modern Art (MoMA) da bi, zahvaljuju}i filmofilu i

Having gained wide acclaim in offbeat art circles and

distributeru filmova Benu Barenholtzu, dobio {ansu

open support by the globally popular and influential

vikendom u pono}nom terminu stvoriv{i tako fenomen

John Lennon, Jodorowsky found himself in a situation

Midnight Movies koji je otvorio vrata kultnim filmovima

where all doors were open, including the one to hell. I

kao {to su Pink Flamingos Johna Watersa (1972.) i

have a letter in which John Lennon and Yoko Ono ask

Eraserhead Davida Lyncha (1977.).

me to translate Imagine into Spanish Ive never

Stekav{i popularnost u alternativnim art krugovima

done it I could have been a millionaire, but I could

i osigurav{i si glasnogovornika u planetarno popu

not care less.

larnom i utjecajnom John Lennonu, Jodorowsky se

na{ao istovremeno u situaciji u kojoj je odjednom sve
bilo mogu}e, ali uz opasnost da proda du{u |avolu.
... Imam pismo u kojem su me John Lennon i Yoko
Ono molili da prevedem Imagine na {panjolski ...
Nisam to nikad napravio ... Mogao sam biti milijuna{
... me|utim nije me to interesiralo ...
ATOUT V HIEROFANT, BIK, VAU
...The Tarot will teach you how to create a soul.

170

ATOUT V THE HIEROPHANT, TAURUS, VAU

The Tarot will teach you how to create a soul.
Alchemy, as any other process in human life, acts in
such a way as to materialise the spirit and spiritualise
the matter at the same time. This concept runs
through all my artistic creations.
Thanks to the favour of the New York alternative
scene and the patronage of John Lennon and Yoko
Ono, Jodorowsky succeeded in gathering enough

... alkemija, kao bilo koji drugi proces u ljudskom

money to star t shooting the most expensive film

ivotu, djeluje tako da materijalizira duh i istovremeno

in the histor y of Mexican cinematography up to

produhovi materiju. To je koncept koji se provla~i

that moment and his masterpiece to be, The Holy

kroz sve moje umjetni~ke kreacije ...

Mountain. This film was a radical mix of occult lore,

Zahvaljuju}i naklonosti newyor{ke alternativne

oriental philosophy and psychedelia. Preparing for

art scene i pod patronatom odu{evljenog Johna

this cinematic adventure, Jodorowsky and his cast

Lennona i Yoko Ono, Jodorowsky je uspio pribaviti

went through much the same experiences as shown

po~etna sredstva za najskuplji film u povijesti

in the film. Guided by Bolivian guru Oscar Ichazo,

meksi~ke kinematografije, svoje idu}e remek-djelo

they went through tough spiritual and physical

The Holy Mountain radikalni miks okultnog

exercises that combined Sufism, Zen, yoga, I Ching,

znanja, isto~nja~ke filozofije i pop-psihodelije.

and Kabbalah. Jodorowsky does not distinguish

Pripremaju}i se za svoje novo filma{ko putovanje,

between life and ar t; for him there is only this

Jodorowsky se, zajedno sa svojim glumcima, uputio

Artaudian equality of the two. Jodorowsky and his

u avanturu identi~nu onoj koju pratimo u filmu. Pod

cast, mostly non-professional actors, played parts

vodstvom bolivijskog gurua Oscara Ichaza pro{li su

of what they are in their real life, so a prostitute

rigorozan duhovno-fizi~ki trening koji je eklekti~na

played a prostitute, a capitalist a capitalist, a fascist

mje{avina sufizma, zena, joge, I Chinga, kabale. Za

a fascist, and in real life they went through similar

Jodorowskog nema razlike izme|u ivota i umjetnosti,

situations as in the film, which often stretched the

ve} postoji samo artaudovska jednakost izme|u njih.

whole crew to breaking point.

On i glumci, uglavnom natur{~ici koji glume ono {to

The Holy Mountain is an alchemistic parable using

u ivotu doista jesu prostitutku glumi prostitutka,

Jungean symbolism and the Tarot to follow the

kapitalistu kapitalist, fa{istu fa{ist stvarno fizi~ki

journey/transformation of the Thief (Tarot Fool)

prolaze kroz situacije iz filma, {to ~esto cijelu ekipu

from prima materia (prime matter) to gold. As the

dovodi do krajnjih granica izdrljivosti.

film/journey proceeds, he is accompanied by seven

The Holy Mountain je alkemi~arska parabola koja

characters associated with seven astrological

kroz jungovski simbolizam i tarot prati putovanje

planets and seven alchemic metals. The seven start

/ transformaciju Lopova (Lude iz tarota) od Pri

as signs of disease of capitalist society and along

me Materiae do alkemijskog zlata. Njemu se

with the Thief/Fool undergo spiritual purification

tijekom filma/putovanja pridruuje sedam likova,

which culminates in their gathering on the Holy

pridruenih sedam astrolo{kih planeta, odnosno

Mountain (reference to Gurdjieff, Ouspensky, Thomas

sedam alkemijskih metala. Njih sedmero, po~ev{i

Mann, and all this esoteric and occult tradition

kao sociopatske kapitalisti~ke ikone, zajedno s

is blatant). The Holy Mountain is not about the

Lopovom/Ludom prolaze duhovnu purifikaciju koja

search for enlightenment; it is the search. At the

kulminira skupom na vrhu Svetog Brda (reference

same time it brings a clear message and defies any

na Gurdjieffa, Ouspenskog, Thomasa Manna, na

interpretation. Jodorowsky is not preoccupied with

cjelokupnu ezoterijsku i okultnu tradiciju vi{e su

what this means, but how you sense it. Just like the

no o~ite). The Holy Mountain nije film o potrazi

Tarot cards, the film starts as a random sequence

za prosvjetljenjem, on je upravo potraga sama.

of hallucinations, and as it proceeds it creates a

On istovremeno vrlo jasno nudi poruku i odbija

consistent alternative universe that does not offer

tuma~enje, jer za Jodorowskog nije relevantno

cheap new age solutions to problems, but celebrates

pitanje [to to zna~i, ve} Kako to osje}a{. Film,

life with humour and joy.

poput tarot karata, djeluje prvotno kao proizvoljan

slijed halucinatornih sli~ica, ali vremenom stvara
konzistentan alternativni svemir u kojem se ne
nude jeftina new age rje{enja, ve} se s humorom
i rado{}u afirmira ivot.
ATOUT XXI UNIVERZUM, SATURN, TAU

172

ATOUT XXI THE UNIVERSE, SATURN, TAU

When one creates a psychedelic film, one need not
create a film that shows the visions of a person who
has taken a pill; rather one needs to manufacture
the pill.
All this talk has barely scratched the sur face of

Kad kreira{ psihodeli~ni film, nije potrebno raditi film

the Jodorowsky phenomenon. On one side there

koji bi prikazivao vizije koje ima netko tko je uzeo

is an entire universe of alternative pop icons and

tabletu, ve} je potrebno proizvesti tabletu samu.

celebrities with whom Jodorowsky worked and whom

Koliko god pri~ali, jo{ uvijek nismo ni zagrebli povr

he influenced, and on the other side there is his

{inu onoga {to se iza fenomena Jodorowsky krije. S

most serious work on psychological, esoteric and

jedne strane tu je ~itav jedan svemir alternativnih

spiritual issues. He is the Tarot Fool and Magician

ikona i celebrityja s kojima je radio i na koje je

in one. He restored the famous Tarot of Marseille,

utjecao, s druge strane tu je njegov iznimno ozbiljan

and practised all of the esoteric teachings and

rad na psihologiji, ezoteri~nom, duhovnom. On je

philosophy he wrote about or used in his films.

istodobno i Luda i Mag iz tarot karata. Restaurirao

He has gained the reputation of a thinker whose

je znameniti Marsejski tarot, prakticirao je svako

specific creative process brings together philosophy,

ezoteri~no u~enje i filozofiju o kojoj je pisao ili je

religion, psychology, and imaginative practice. His

koristio u filmovima. Svojom karijerom stekao je

work has never been descriptive or explanator y or

reputaciju mislioca koji je spojio filozofiju, religiju,

condescending, but always provocative and inspiring.

psihologiju u imaginativnu pragmati~nu vje{tinu

Jodorowskys works, especially El Topo and The Holy

integriraju}i ih kroz svoj specifi~ni umjetni~ki proces.

Mountain, are dangerous experiences, just like LSD

Njegovo djelo nije nikad deskriptivno, obja{njavaju}e

pills dangerous because they contain the meaning

ili pak patroniziraju}e; ono je uvijek provokativno i

of life.

inspiriraju}e. Djelo Jodorowskog, a posebice El Topo

Look further ... for your own sake...

i The Holy Mountain, opasno je iskustvo, poput

tablete LSD-a opasno jer sadri smisao ivota.

THE ALCHEMIST: We are images, dreams, photograph.

Istraite dalje ... za sebe...

We must not stay here. Prisoners! We shall break the

illusion! This is maya! Goodbye to the Holy Mountain.

THE ALCHEMIST: We are images, dreams, photo

Real life awaits us.

graph. We must not stay here. Prisoners! We shall

break the illusion! This is maya! Goodbye to the Holy
Mountain. Real life await us.

1 The Holy Mountain, film

2 Aleister Crowley: Book of Thot, Samuel Weiser, 1992.
3 Ovaj, kao i ostali citati Jodorowskog, preuzeti su iz knjige Anarchy and
Alchemy the Films of Alejandro Jodorowsky, autora Ben Cobba, Creation
Books, 2007.
4 Antonin Artaud (1896. 1948.) francuski je kazali{ni velikan, za~etnik
teatra okrutnosti, teoreti~ar, dramaturg, pisac, lu|ak podvrgnut elek
tro{okovima, putnik koji je izu~avao magiju i {amanske tehnike u plani
nama June Amerike, glumac ...

The Holy Mountain, film

Aleister Crowley: Book of Thoth, Samuel Weiser, 1992.
Tarot Trump or Major Arcanum
This and other Jodorowsky quotations have been taken from Anarchy and
Alchemy: the Films of Alejandro Jodorowsky, by Ben Cobb, Creation Books,
2007.
5 Antonin Artaud (1896-1948) is a major figure of the French theatre, father
of the Theatre of Cruelty, a theoretician, a playwright, a writer, a madman
receiving electroshock therapy, a traveller who studied magic and shaman
techniques in South American mountains, an actor...
1
2
3
4

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