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You have to feed on the essence of an artistic affirmation perspective in order to understand the value of the creation that best represents you in terms of a clean-artistic vision.
The lines and colors are shaped, transformed during the crossing of Mexico. The hardness of the lines and the harshness of the colors soften to the south. The cruelty of the central plateau is attenuated. In the north, red birds do not eat their prey as soon as they kill it, but stick their beetle or worm on top of a leaf and wait, in order to devour it, to be dried by the heat of the sun. There the horses are driven to crush with their hooves the tests of the rebellious pawns after they have been buried in the scorching ground. There is a world of cruelty. To the south, the sharp maguey leaf becomes lacy and turns into the curls of the vines. The bright color gives way to shades of green. Cruelty dissolves into indifference.
That “day-dreaming”, that thirst for daytime semi-drowsiness, continues to remain for director Sergei Eisenstein a means of perceiving the environment, bringing into consciousness strange visions, metamorphoses of reality. In this paradise of graphic art, the artist begins to draw. A lot, an enormous amount. Records what he sees. Then, overcoming this first phase, through the abstracted, intellectualized line, the drawing captures a very sensual relationship, at the same time delusional, between human figures in unusual situations. The feeling of genesis of the world that he experiences everywhere, during his stay in Mexico, this feeling of reduction to essences, to the primary elements, is probably also the basis of the essentialized thinking about the life-death relationship.*
Leadership: Does the act of assimilating the artistic means necessary to cultivate your creation fall within the essence of some perspectives but also limits of receiving the visual-artistic message, taking into account what you need to know at the abstract level?
Developing the capacity to receive the visual-artistic message is the first task that a director must fulfill, knowing that the variety of the complex in which the notions, expressions and meanings that support and promote a modernist artistic current are rooted, depends on the content it provides to spectators. In his screenplays, the director not only captures human figures in unusual situations, through successive metamorphoses of reality, reflecting the horizons of an impressive creation through vastness, diversity and depth, he rather captures the relationship between the nature of thought and the organization of human experience data.
And what is this artistic message, expressed through images, other than the result of using the intrinsic effects of art emotionally and mentally, being consonant with major themes of reflection, including the harmonious relationship between man and nature. Or, as someone said on a website: “The artistic message is that ideational aura in which the author dresses his work to make its content a vehicle to the soul and spirit of the receiver.”
Here we see two perspectives of the artistic message: the consciousness of the vision and the metamorphosis of reality by returning to myth and legend, that is, by overcoming the spatio-temporal coordinates. And as limits we capture, in an accessible plan of visibility, the inability to focus on understanding the role of subjective experience and the invalidity of a progress in terms of harmony between the setting and the atmosphere, between the characters and their motivations.
Therefore, it is necessary to take into account the artistic message, finding the harmony between sound and image, when we place ourselves in a plane much closer to the viewer than the characters are in reality.
What you need to know at an abstract level for your vision to encompass the meanings of an image or countless moving images (as in the case of movies) is how you can approach the shapes and attitudes of a human figure through a means of perceiving the environment. In this case you can use an artistic process through which, based on common features, two terms are joined, in order to highlight the first.
As for the art of directing, more important than the images extracted from the experience of life is the story in which life stores all the images around a personality that has ceased to be a promise and has become a certainty.
The Feeling Of Being Reduced To Essences is distinguished by the relationship between what we see and what we want to see at the level of an authentic creation that evolves through a message with artistic content: “What you express in a compressed way (reactions, emotions and states) is what gives nature a level of knowledge through images.”
Take into account the essence of an artistic affirmation perspective so that you can understand the value of the creation that best represents you in terms of a clean-artistic vision. Remember: an artistic affirmation perspective has as a novelty support the essentialization of an idea that is to be transmitted through the images made both visually and technically. And a clean-artistic vision is an image you can’t look at, even if you see it only once, possible to be modeled at any time by the way a photographer thinks.
* Note: Ion Barna - Eisenstein, Youth Publishing House, 1966.
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