Neculai Fantanaru

Everything Depends On The Leader

Art Between Essence And Creation

On August 07, 2016
, in
Leadership XS-Analytics by Neculai Fantanaru

Discover your superior quality of being original, through a pertinent and well done analysis of the viewpoints that produce and disseminate the highest of knowledge.

Generally, knowledge, at least informative, of the ideas that were accredited in those years concerning art, with application in cinematography, is important for the understanding of one of Eisenstein’s sources of thinking. His artistic thinking from that era didn’t come about spontaneously, it doesn’t represent a curiosity, an intellectual quirk, but is rather consistent with the logical evolution of contemporary ideas.

Vertov declared that the special suppleness of montage permits the introduction of a "cine-study" of any political or economic idea. Knowing this, we will no longer be surprised by the appearance of Eisenstein’s film "The Strike". The same Vertov concluded here that film no longer requires the presence of drama, of the mise-en-scène . Historian Lebedev, in a study of the history of Soviet cinema, noted that one of the base principles of the Proletkuit artistic experiment was that of "collectivism" that excluded the existence of individual heroes in favor of the masses, collectives.

The idea of typing was in turn applied by Eisenstein even in theater and had its origin in his passion for the comedy dell’arte and in the theatrical concepts of Meyerhold. *

Leadership: How much can you give from the overflow of your knowledge, so that the originality of your creation aligns with the established agreement between the evolution of ideas and the artistic experiment?

The thinking of an artist, pouring over the abstract models of representing the facts of knowledge in the dynamic of creation, so that afterwards the process can be supplemented, constantly, by means of recomposing facts with the real, has originality only if he participates in the conduct of an experience of broadening horizons.

In art, this broadening of horizons, being congenital to the complexity full of nuances of the interplay between the aesthetic and the functional, carries the artist towards a never-before-seen blooming – especially if he manages to find similarities and differences between the feel of uniqueness and the transfer of facts of knowledge that contradict unanimously accepted ideas. The originality of a creation depends on the understanding you attribute to an encompassing thought, based on successive interpretations and reinterpretations whose truth is systematically negotiable and subject to adjustments, resumes, changes of circumstances and effects.

Just as poetry cannot exceed the boundaries of accuracy, not showing accuracy in the execution of a mechanical thing, so too knowledge, in constant transformation, cannot be considered a process of gradual discovery of complexity if it doesn’t represent through the very related subject a certain predominance in expressing the unity between idea and the ideal of judgment, related to the creation of compositional harmony.

Essence in leadership is what lyrics are for poetry: a high ordering reason of the elements of meaning that contribute to the creation of a harmony in the relationship between subject and revelation.

And, on the other hand, to anchor yourself in the essence of forms of thinking, through a unique journey of ideas, means to always seek variety in unity. It means to find the way of expression of your own beliefs adapted to the prime matter springing from that knowledge that allows a deeper view into the structure of objectivism of which is tied your representative part.

Originality is your representative part processed in the objective version of the essence that is discovered through creation. While the artistic experiment aims to establish the concordance between the logical evolution of the ideas and the acquaintance of the knowledge in extensio through the prism of the comparisons, that the art acquires the value of jewelry, and the creation acquires the value of reference in the life of others.

The relation between the subject and the revelation is constituted as a chain of beliefs and ideas, perceptions and values, which the director crosses on the way to the mechanisms of art, to its evolution, so that his thinking focused on innovation does not stop in front of the realities of the real existence. Being a revelation, the director’s relationship with a well-documented and engaging subject, taken from the same area of art and creation, makes the values, ideas of perceptions and beliefs he crosses on the way to surrealism or fiction, confer to the real existence an expression of the sublime. Not everyone is capable of such a performance !

The subject is the story you want to stage, the revelation is the story you raise to a surreal level.

Art Between Essence And Creation materializes in that superior quality of man of being original in a pertinent and well done analysis of the points of view that produce and disseminate the highest of knowledge.



* Note: Ion Barna - Eisenstein , Youth Publishing House, 1966.

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