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“Movement first attracts attention, and only afterwards do you think about what is moving.”
Sergei Eisenstein had never learned drawing. He had begun to draw from a childhood impression: while waiting for the game to begin, engineer Afrosimov drew animal outlines with chalk on the dark blue canvas of the game table. Eisenstein was fascinated by the white arabesque of the line that was born before his eyes and that in its movement made dogs, deer, cats appear. The line moved along the invisible contour of an object which, by a miracle, thus gave existence on the table cloth. The dynamism of the line was a sensation that had fascinated him for years.
Engineer Afrosimov had inoculated him with the pleasure of drawing. Later, at the Polytechnic, the arid matter of analytical geometry acquired a special charm for the young student because it translated into the mysterious algebraic formulas precisely the movement of lines. The dynamism of “becoming”, in opposition to the static, will fascinate him all his life, whether it is the movement of the line or the phenomena. It was a fascination with the genesis of things that has its origins here, in this early impression of drawing.
He drew, as we know, a lot in his youth. Much and badly, because, abandoning the primary inspiration, he loaded the drawing with details under the influence of the Russian school of genre painting. School calligraphy by model never succeeded. His manner was that of linear drawing. Then, abandoning drawing, he remained passionate, in his first films, for the mathematical purity of editing in his movement. The taste for sequence appears later, and explains the strangeness of this delay, by the logic of Engels’ thought: “movement first attracts attention, and only afterwards do you think about what is moving.”*
Leadership: Can you trace the landmarks of an attractive vision if you look at them from that position where the total image of man turns out to be that of a creative entity that directly relates to the quality of being sensitive?
He who proves to be sensitive is the man with unsuspected spiritual and artistic values, the one who studies objects and their properties, applying the equally concrete procedure of the experiment to deepen the understanding of the theory and its application in the light of scientific discoveries. Such a man can enjoy a total work of art only if it contains all the landmarks of a change that preserves the background of the old rules of composition, and if the qualities of the work concern the image of a new, transfigured reality.
To enliven what the mind sees, to the satisfaction of the eye that embraces beauty and good taste, so that the things you accumulate, trying to concentrate them in works of art, seem less complicated than they appear at first glance. The eye slips into anything artistically perfectible, so much so that it sees a change in the world and serves its mind through a wide variety of knowledge. In this case, director Sergei Eisenstein becomes a kind of mirror of the world, a kind of light source, an archetypal image for the action of a creative force that causes astonishment and an unforgettable impression.
If painting represents color, the fruit of poetic imagination, a form of life that discovers its own identity, and is distinguished by the quality of recognizing beauty in all its forms, then Eisenstein harbors a rare dose of talent that surrounds his being with the quality of being sensitive.
He seems to live in the harmonious space conceived by an artist of plastic forms, who shares his vision according to the new currents imposed by the changing circumstances of society and budgetary possibilities, but with the amendment that he must be aware of what is beyond the visible shell of things, beyond the progress of the world, beyond words, images or silences.
We expand this point a little. When we say that “Movement first attracts attention, and only then do you think about what is moving”, we think of an indispensable activity in the life of any artist who wants to maintain their beliefs, feelings, intensity, level of knowledge, on the positions of an original conception about the world, life and creation.
Leadership is the director’s way of rendering the reality of a purely personal life experience with the help of beliefs and feelings that, generated by suggestion and image, can persist as a background of visual memory in the subconscious of those who have formed intellectually under the regime of subjectivity.
The total image of man proves to be that of a creative entity that relates directly to the quality of being sensitive, when his becoming as an artist is in opposition to the static of an opposing destiny, when he manifests his affection in his unique way of being, in the atmosphere of a life story from which you do not know what to expect. In this regard, the landmarks of an attractive vision are administered to a sensitive subject presented in a unique way. And regarding the application of the results of our discoveries, we mention the theme of the search for the sensible as an opportunity that can contribute to the aspirations of artistic intellectuals.
Science’s Place Within Leadership is a result of artistic culture and directorial temperament, which has the power to individualize forms of artistic expression, to subject the whole imaginative material of the work to a personal stylistic foundation: “everything I create must first attract man’s attention, then direct his thinking to what interests him most.”
* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.
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