Donate monthly to support
the NeculaiFantanaru.com project
Try to make sense of a creative experience full of external “views” before you push your limits.
Russian director Sergei Eisenstein, who has been offered specially chosen subjects so that he will have to refuse them, is now vehemently attacked for not making any films for a long time.
However, the great director’s dissatisfactions continue. Further invited to the celebration of the 15th anniversary of the existence of Soviet cinema, Eisenstein receives a lower distinction than his colleagues, who are awarded higher orders and titles. Among them were Podovkin, Dovjenko, his former students, the Vasiliev brothers, or even his former assistant Alexandrov.
The next day, as chairman of the conference, he delivered a closing speech. Responds weighted to attacks. He pledges to resume creative work. In a few years he will remember with irony the gray atmosphere… in the years after 1930, which tried to embrace everyone, standardizing creation. Obviously, therefore, his present conformist submission is not real. No one knows – and shouldn’t have known – what’s happening in his soul. Unperturbed sphinx, His Majesty Eisenstein retains his glory.
Leadership: Can you establish a correspondence between interiority and subjectivity, building a solid and beneficial image of the composition of a work of art that moves the world with the plasticity of a feeling of total peace?
In the end we understood that all we perceive as important is just the illusion of a momentary victory, it is that experience of a reality that transcends what is transient and that moves only what is not seen, it is the x-ray of a normality established by the others. And, I also believe that we will never be able to reach our full potential if we allow everything we perceive to be important to depend on the approval and reactions of others, especially if we are aware of the need for unconditional freedom of expression.
In this way we must emphasize the need for a correspondence between art and the spirit of a “master” type morality, not that of a slave, which invents new forms of thinking, outlining the nature of a strong beginning in terms of distinguishing between what is right and what is unjust, between what is transient and what is definitive. It is in the name of such morality that we will have to reject the feeling of possible guilt if the opinion of others does not coincide with the vision we want to expand in the world.
When you are attacked on all sides by harsh criticism and fine irony, it is good to weigh our answers and to build an imperturbable Sphinx position, letting others see for themselves that they are unjust in their assessments. This is where the correspondence between interiority and subjectivity comes into play.
Interiority is an inherent dimension of creation and creativity that cannot be silenced, a perfect combination of finesse and strength. And subjectivity is the potential to produce a transformation at the level of what you deliver in a way that your thinking, the wonderful gift of your creation, will take the audience by surprise.
Beloved is one who has had the courage to submit to the rigors of an intellect that refuses any conversion to an external truth, to external steadfastness or immutability.
An authentic director works in the spirit of a new vision of the world, from a longing for the unconditional certainty of an accuracy in the interpretation of reality, knowing himself apt to make a good difference between what is revealed as real, powerful, real and significant, and which lacks these qualities.
Oftentimes the director experiences the limit of interpreting a subject of life in his art, acting as a filter to eliminate external contrasts and prolong his inner world, but without limiting the perception of the surrounding reality.
Moreover, a director has the ability to define himself as a character characterized by the plasticity of a feeling of total peace when he manages to vibrate, through his creation, the phenomenon called resonance: between what is highlighted by the image and what it is believed.
A director knows that his Ego’s feelings are reactions to the ordinary accidents of life, purified by the vital purposes of a demonstration of truthfulness, so he is not touched by the remorse of a vein he cannot compensate or atone for ignorance of reality.
The most chosen knowledge coincides with that imperturbable peace of mind sought by men who are willing to understand the fact that everything exists in reality, and which can be transposed into a work of art, must not submit to the rigors of the critical spirit born of the consciousness of a limit that must not be exceeded.
As someone said on a website: “I understand that every person I meet is there because he has a role and a message for me, and whether it breaks my heart or causes me the greatest joy, I have to thank him equally.”
His Majesty Eisenstein Retains His Glory knowing that everything that comes from the outside cannot be passed on to his inner world. Such a director remains devoted to the truth and its channeling within himself, to himself, but he does not dispute the intervention of external forces of thought.
* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.
Latest articles accessed by readers:
Donate via Paypal
Donate monthly to support
Donate the desired amount to support
Donate by Bank Transfer
Account Ron: RO34INGB0000999900448439
Open account at ING Bank