The Artist And His Art

Take on a big role, first by manifesting your option of turning into someone else.

I found myself at the imaginary crossroads of two complementary, essential axes, under the aspect of the mysterious order of a world whose true heroes never die, positioning myself like a circle with wavy rays above the horizontal plane, with positive rates, of the excessive motivational intensity. What for others would have represented only a fictional scenario of using a wide range of contrasts between different perspectives of making a literary-artistic work was for me a deepening in a way of knowing that risked becoming a prison for me.

The attempt to defy the presence of the conscious factors by addressing the comparison between science and art, the steadfastness in the restlessness with which I would charge my momentum towards undetermined heights, this impeccable accumulator of what I wanted to forget about without regret, integrated me into a film script that only Stanley Kubrick could be able to direct. Everything revolved under the naive dangers of the operator called “Myself”, a reflection of the experience based on the experience gained from identifying with an artist who deeply reflects on his Work before making it known in the world.

My whole thought was sooner an axis on which was represented the embodiment of an anonymous character, concealing his real identity behind a mask in which the intermediary link, the action transmitted to the soul of the role, determined the overall solidity of a cause-effect relationship that never was and never will be present again. Could any understand the importance of this mask for my future art?

The art composed by a screenwriter is the expression of a selection of thoughts that succeed in imposing themselves on the background of agreements between a finely detailed picture and a justified metaphor that signifies the idea of a release from the chains of appearances.

But in the creative process of scenic experience there are not only bridges to the heavens, to the castles of life, to art and knowledge, intangible for the spectators, as much as there are bridges to the beauty of the game of hide and seek. I was hiding, and I would also lose myself. What is important is that I managed to find myself, always in a different formula, in a new apparition, in a book, in a tear of pain, in an image of the future, in a combination of things in a context different from the act of writing.

I'd say I was lining up on the composition axis of a movement towards infinity, like in the light game of a fantastic mirage, in which the great universal conductor, the soul, constantly seeking its way towards the magic of a labyrinthic underground, managed to break through into the depths of satisfaction towards a different way of understanding the world. No one, not even Shakespeare could have created such a precisely outlined character, with art, in the relentless dynamic of the challenge called "To be someone else."

Can you re-compose the parts of a whole to create a new quality from which to manifest your artistic expression?

An artistic expression must not be closely related to a very revealing, rich, neat, expressive, glamorous language, but rather to contain that part of your personality that is the most trustworthy, most appropriate and most well-developed, which makes you unique in your own way and distinguishes you from all others.

The artistic is an emanation of poetic grace, an emanation of a universal consciousness, an emanation of the spirit of creativity that you must stimulate through zealous, metaphoric, mysterious, full of emotion words. Sometimes it leads to a series of symbolic fixations in the human microcosm, at times it creates a space of the magnitude of the momentum to still untouched heights, and can often be assimilated by the idea of “separation from the world of yesterday.”

The famous Russian director, whom I have mentioned countless times, Sergei Eisenstein, reached the application of the "close-up method", starting from the fascination of a phenomenon: by recreating the parts of a whole, a new quality of it can be created. Hocus Pocus, who was I in this close-up of the equation of a system of orthogonal axes?

The artist’s experience and the inner world of the play called "Interview with myself". No one understands who you are, based on actions, facts, feelings, this leading to what could be called "Behind every great artist there’s a great improvisation". Thus, everything is under the horizontal of a fictional profile, headed towards the pole of a rotation of image in which is permanently introduced a new content.

Do you consider yourself such a good actor in your own stage to assure a separation of reality from the details of a world that is at the limit of the choice between controlled aleatoric and narrative improvisation?

Dominant in leadership is at times the conscious ability of perceiving a unique facet of reality, but one which could portray me in a reverse aspect, in the expansion of an individuality passed through the crossing between what can be seen and what cannot be seen. A sort of Empty-Full which could tests my ability of attributing to self-experience, through a process of feeling-thinking-doing, a deeper meaning, later manifesting itself in the real event.

I was concerned with knowing how to approach moments of wandering in the orthogonal projection between the axes of an out-of-the-box reality, this made me into a sort of seeker of knowledge about the self. Because the man who conceals his real identity behind a mask, the man who fuels the presents of the conscious factor by addressing the comparison between science and art, the man who hides in order to find himself in a game of hide and seek, can understand his importance differently in the equation of the art of accepting himself and of becoming sure of himself.

To what extent do you create your identity through role-playing, turning improvisation into a link that unites reality and artistic vision?

The greatest leaders of the time were first of all actors on their own stage. First you put on the mask, then you shape your character, then you act it out, and at the end, you leave a door open towards to the wonderful heights of your knowledge. This is the "intermediate link", the action transmitted to the soul of your role, determining the overall solidity of a cause-effect relationship that never was and never will be.

Behind every great artist there’s a great improvisation. No one can learn and take on a great role without first manifesting their option of turning into someone else. Through a game that always pushes you to surpassing your self-image and your limits, you will be able to recreate the separate parts of a whole in order to create a new quality of it.

Ensuring a separation of reality from the details of a world that lies at the limit of choosing between controlled aleatoric and narrative improvisation means creating a totally new identity by invoking the importance of the role you play in a context of a wider storyline.

The only thing that can make the difference between an extraordinary and an ordinary reality is the test of the symbiosis between the scene that you consider as defining for your character and the story you tell about your Ego.

The Artist And His Art is the man who hides, loses himself, and manages to find himself again, always in a different formula, a new apparition, a new book, in a tear of pain, in an image of the future, in a combination of things conducted in a different context. For an artist, his own personality becomes a film script – a kind of silly world, mad and blind, but from which he can learn much more about himself.

What matters is you take and transmit only what is good from it.