Leadership Unleashed

Learn to form a new identity through the constant renewal of how you define yourself.

The shooting usually take place in good conditions. Tisse is looking for expensive compositions whipped by the director’s plastic imaginations. But Serghei Eisenstein’s preoccupation for the actor is, apparently, unilateral. Coming to the shooting location, the actors didn’t know what they would film that day. He was using them as plastic elements of the frame, without dealing too much with the interpretation. That’s why the director had difficulties working with the actors. In order to overcome them, he accepts the help of Elisabeta Telesova, who will remain his counselor in these matters and also, a good friend.

The problem will still be standing, and later on talks will emerge about the fact that Eisenstein destroys the personality of the actors, suppressing their interpretation in order to obtain plastic expressivity and he will be blamed that he can’t stand any critic to that end. *

Can you give credibility to a creation that runs counter to what is taking place within a context of authentic reception that exists before you?

To create new forms of art by delimiting orientations and points of view, but in view of an eventual agreement between parts, it means to distinguish and to sort what authentically belongs to you and what you have borrowed from others. Or better said, it means to get in contact with a certain truth about yourself in order to use the best in others, invoking a so called judgment authority – that has a rejection force.

The truth about you is similar to taking appearance as essence, a distance function that resorts to itself through the stringent need of asserting yourself in a way that forces others to give up or to consider themselves pariah because of reasons that they can’t control. This means to give credibility to a personal creation that finds itself in opposition with everything that happens in a certain context of authentic reception.

But these authentic personal creations where the notions of "form" and "substance" give in to a certain temptation of the outside world, by means of test and research subjects that intercept every type of request will have to possess the characteristics of art.

This is possible only if the artistic fantasy doesn’t fly away from the fields of human and if they don’t cross a restricted space, an exclusive field of science, technique, inspiration and experience that lack warmth – in order to obtain the expressiveness that individualises you on the stage of great achievements.

What weight do you feel as you become aware of yourself thinking in a world that escapes you, knowing that you are growing alienated from your own humanity?

We remind ourselves of the myth of the car that thinks, in the vision of French philosopher Mikel Dufrenne, symbolizing the malady of the century, understanding this by the heaviness that a person feels seeing himself thinking and wanting in a world that eludes him, where he alienates himself and where he feels uprooted. A kind of a priori knowledge that has taken root in the depths of conscience and that people not only under-evaluate, but completely ignore, in order to focus only on the essential matters that interest him.

And this weight felt with the force of an expressing and expansion addiction of knowledge, on the terms of some requests for approaching and using the art for which "test subjects" don’t have enough training, resonates in delimiting one’s own individuality from the status of tolerated person.

In order to reach that level of leadership that offers you the chance to "reconfigure" identity according to everyone else, you have to fight against this tendency of organizing creation as a "closed totality" where others represent only "plastic elements of the frame".

Destroying the personality of those who support you in the process of promoting authentic art, suppressing their interpretation in order to obtain plastic expressivity, is the equivalent of your damnation to the helplessness of making yourself understood, vertiginously advancing to the helplessness of accepting and standing yourself.

The reason the director focuses more on content than on form faithfully reflects the way he perceives reality and judges the interpretation of roles that are not his own.

Leadership Unleashed underlines those orientations towards perfecting art, under the command of a continuous self-identity that exaggerates its importance, powerfully exhibiting itself in a direction opposite to the behavior of being open and tolerant towards others.

Setting a limit to your own understanding of art over which the professional future is built, transited by visions and the passion for detail, they don’t have as reference point the quality of being empathic – but exactly this quality is one of the pillars of acknowledging your own superiority or inferiority.

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