chapter  4
8 Pages

Lecture 7

I shall speak with you a little today about a subject which young people usually speak about very early. It is imagination in art, imagination in the theatre, in creative work. It is a very dangerous theme, because, after all, the imagination is something you cannot explain. You cannot teach it. It is not materialized. You can say, “My dreams are the most wonderful in the world,” and I will agree with you perfectly, but you cannot say where they are. You cannot show them. The point is that we working in art cannot deal with imagination without any foundation or with imagination which is not deeply rooted in something which we can control perfectly. That means, for instance, if I am simply a person of the average

intelligence, I have read a few books, I have a couple of friends, I have seen a great deal, I have my dreams, my imagination. Have I a right already to use this imagination? My bold answer will be, “No,” because to use this something you must have a practical habit, a practical craftsmanship to use one thing or another. When a person asks me if she can dance and I see she does not know how to use her hand, I say, “No.” Her movements are good, but she can use her hand only as a windmill. The imagination is something that gives pain, that makes the artist suffer, because the nature of imagination makes it always better than every day life. That, too, is where it comes from, because the human soul is never satisfied; it seeks always for something better, and when it cannot find it around, it starts to look for something better in the imaginary world. All religions are based on this principle. What is art, if not creating a better life, a better world, perfecting what God has already created? It is very difficult sometimes to say to the young soul, “Don’t imagine

anything.” Sometimes it is a crime, because you may kill very good things, but for the benefit of the after work, it is necessary to say, “Don’t imagine anything until you know what is real, what is imaginary.”