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This is no different from the experience of life and relationships: the nucleus of a fact is alvvays rather simple, and indeed, the more simple a fact is, the more it is destined to clash with the events which it itself produces. " I am not interested in commenting on this sentence, which has the glibness of most beautiful statements. Still, it is important to me to recognize this nucleus in order to know to what extent its developments are, so to speak, intemal and to what extent they are induced externally.
Is one faithful to a piace, to what ultimately changes very slowly. Every midsummer evening has its companionship and its solitude, and the architect or the playwright must grasp the broad outlines of a sceiie quickly, because he knows that the eharacters and even their feelings may change, or that in any case the representation will be different in time. All this allows for the representation of the past with the desire of the present. What frightens me most is the past of a man in whom desire is dead: for somecme in this state, the past paradoxically glows with the colors of the future, with those of hope.
Perhaps the best example is Juan de la Cruz's drawing of Mount Carmel; I have drawn it myself over and over again in an attempt to understand it. But at times the theater is closed; and cities, like vast theaters, sometimes are empty. While it may be touching that everyone acts out his little part, in the end, neither the mediocre actor nor the sublime actress is able to alter the course of events. Reality and its description together form a complex binomial. Often an obsession exists which is superimposed on every other interest.