Art Between Preference And Thematic

Relate your personality to the level of a character found at the base of your creation, following the re-analysis of its predominant way of exposure in the artistic consciousness.

During this period, Eisenstein gets his hands on a book about the compositional procedures of Tolstoy in "Hagi Murad" and "Holstomer", a genuinely emotional story about construction. In this way, a new solution is given to him through transfer. Therefore, the procedure analyzed in that book is that everything is shown through the "backward" consciousness of a character. Why should he not do the same? Why not resolve the passing of those 33 years from the second stage to the last stage of his film in this way?

It’s so simple: one’s consciousness from before the war, isolated for three decades, which now collides with the new reality, expressed through the construction of the channel. In this way, the time gap, up until now a difficulty in solving composition, becomes an artistic necessity. "In the case in which the calendar wouldn’t have imposed these 33 years, they would have to be invented, imposed by force."

Now, the old singer Tohtasin, one of the characters, shaped his path, he has where to go to in the third part of the film, becoming a "reverse Holstomer". *

Do you express a preference for a unique thematic able to represent you as a model of artistic communication, through the consciousness of a character who joins your life story?

Due to the complex relationship between authenticity and the premises of constructing an identity of the idea of art, the artist (on which a madness of the combination between fiction and reality can be projected) feels compelled to strengthen his means of validating creation, showing a preference for the unique thematic by means of the "backward" or "advanced" consciousness of a character. By the identity of the art idea is meant the resistance part of an emblematic construction, which has become a kind of necessity for the artist to breathe a lost world in the “darkness of time”, to dilute the content of an exposed message as a reflection of his creative side.

Therefore, the way in which you practice the highest knowledge, the prime production factor of discoveries, supporting the assessment of the real characteristics of constructing art, creates the imperious need of expression on a different subject, added on the existential trunk of a personality found in a dynamic psychological manifestation.

Here we refer to a model of artistic communication whose main asset is the reference to a character played in a film production that is revealed to the viewers through the interactions between the director’s Ego and his Alter-Ego. The story of a character is the courage of a director to change a reality depending on how he thinks the events should happen, yet that reality will remain in the memory of the world, and even change it.

What knowledge can be attributed to a narrative court, within the artistic act, so that a theme between reality and fiction can be achieved? And what would happen if the image of a certain rationality would not have a chance of success because it cannot establish a viable relationship with surrounding reality?

Are you able to perceive artistic knowledge from the perspective of a creative experience called “a passage beyond the mirror”, so as to allow your consciousness to shorten the distance between reality and fiction?

Here is a new character, an abstract identity, perfect for a less explored thematic, belonging to sources of composition stemming from the bond formed between the customized option and the permanent shaping of roles depending on context. And the consciousness of this character intervenes, as being superior to previous models, through the attitude of defense or submission, through a process of integral identification with the result of a science and of a pursuit that exalts the human will above common boundaries.

The leader is the creator of a character in a continuous transformation, a character that shows the direct effect of the release of behavior and evolution against the very work in which he is developed. Hence a new concept of the reorientation of thought or the retrieval of the real order of the values that complete the leader in the sphere of the art of manifesting himself as a source of imaginative stimulation and creative interpretation.

To relate your personality to the level of a character at the base of your creation, following a reconsideration of your predominant way of exposure, between a backward consciousness and an advanced consciousness, is a reflection of the experience of adjusting to a situation determined by the very notion of holding a depth of personal expression, as close as possible to the spirit of originality.

The creative experience called “a passage beyond the mirror” refers to the director-character relationship that faces the self-image relative to maturity, representing (as an artistic necessity) the action differently from the way others perceive it, but identical with the authoritarian requirement of the conscience that screams: “Be careful to not confuse what you want to be true with what is actually true.”

Art Between Preference And Thematic concerns the transfer of manifestation of personality outside of what we know about it and the effect it produces in a point of receiving creation, expressed through a set of construction elements (attitudes-values) that serves as a support base for the concept of "transferable knowledge."

What you transfer through creation, from you to your character, and vice versa, does not oppose the rigid norms of leadership. On the contrary, it is an integration of thought into a different direction of understanding, comprised between the artistic necessity of underlining the contrasts characteristic to your evolution and the necessity of discovering yourself in what you’ve never been before.

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