The Idea Of Composition

Cast a light on the process of creation, developing a greater ability of perceiving truths manifested in day to day life.

This idea of the composition in terms of time was older, we know it. It was however fertilized and reanimated a few months back through lectures of the readings of English writer J.B. Priestley that gave birth to thoughts about composition in time. First Priestley’s lecture – the charm of the fine mobility of his fantasy, and then, obsessively turns within my brain a verse from "Macbeth."

The connection of times has opened, associations from current life, of course, from the funds of emotional reserves accumulate and unfulfilled in Mexico, and then, those seen here, in Uzbekistan… Thus, is born the idea of composition of the film "Fergana Canal". Of course – we repeat it – the process is much more complicated, more nuanced, the associations much more numerous and referring to the entire cultural and emotional reserve. However, the detection of even a few of them casts a light on the process of creation.

These elements are obviously not crucial, but they do however have the role of stimuli. Even Eisenstein says it about Priestley’s plays, of which he had recently read and meditated upon:

"They are interesting here, because they have probably helped with the clearing of the field around the theme of time in the exact moment I encountered the problem of time in the script about the Fergana Channel. For too long have these things been thought of and spread, he confesses elsewhere, that under Priestley’s influence they could not burst. And if we look at Priestley’s case as an example, he will clear it all up for us, through multiplication and from here, generalization, yet another hidden fold of the problem we pursue."*

Can you develop a point of view on a contemporary topic by discovering the compositional solutions of a key factor coming from the sphere of direct and immediate personal experience?

An unlimited personal resource of the artist is his very own fund of managing those noticed along a winding line, according to the research through which the learning of work techniques, life lessons, new methods of using knowledge takes place, in an attempt to capture the essential beyond the limit of the visible.

Leadership impresses through the charm of the fine mobility of fantasy of the artist. The creative man participates in the process of giving reality from those seen and felt that give exhortation to the mind towards the seeing of things unseen.

Through the assimilating of information and a constructive approach to learning, in whose menus we find genuine "germs" for obtaining an aesthetic of production and representation, is always reflected a new theme to be addressed, a film script, which leads to a different level of experience.

Unseen things usually play out in a restricted environment, but sometimes they can be met with the soul and mind in various journeys in the world, through contact with great men. Wherever you are, wherever you find yourself, wherever you feel connected to important events, where "clues" can always be found, elements at times decisive with the role of stimuli, that lead to multiplication and from here to the generalization of results and notions springing from a broad inductive base (by following the passing from effects to causes.)

The key factors of transformations that lead to the discovery of compositional solutions to certain experiences previously processed in themes and scenarios are findings, associations, and comparisons with current life that establish the format of original ideas and lessons. They can be represented by the constant "Time", sometimes taking the form of a mental picture, sometimes revealing a hidden cut of a problem, etc.

The aesthetics of the representation of a new vision from the sphere of direct and immediate personal experience, in contrast to the unknown of long journeys through the universe of non-material creation, refers to the originality of improvisation with which you encounter a thinking whose wealth can be embraced in an original concept depicted in a work art.

The Idea Of Composition belongs to the man who knows to always trust "a new beginning", having within his administration the rich cultural and emotional reserve collected over time. Be mindful of how you relate to those seen in the places you pass through, but especially to those unseen, knowing that what is lost usually contains a great part of a truth that can propose a new perspective on the relationship between the power of creation and knowledge.

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