The Work That Includes All The Sterility Of Too Cerebral Experiences
The creation of genius emanates from the inner combustion of an unmade passion, which transcends the limits of ordinary reason.
It has often been imputed to Eisenstein that his work has the coldness of rock, of the mineralization of ideas frozen in complicated forms and completely devoid of warmth. The imputation was often due to ill will, sometimes to misunderstanding, that is to say, not noticing this unusually strong combustion in which passion became its own hypertrophy, the hyperbole became so immense that its hieratic upset common sense. As many could never understand why Whitmann affirmed that it encompasses, and at the same time is, every event that happened in people, in the world, in the Cosmos.
Eisenstein's work - with all its declines, with all the sterility of too cerebral and unsuccessful experiences, which it sometimes contains - is irrigated with blood. Hot blood, you guys. The blood of an always incandescent passion, which explodes and, sprays, spreads in the grass with the brilliance of constellations that flood his work.
Then those who had no eyes to see, or did not want to use them, mistook the galactic light for the twinkling of some rhinestones. This is how Eisenstein becomes a "formalist". Namely, in the eyes of those who see for themselves only the form in which the idea shines magnificently. In these cases, the director Sergei Eisenstein answered them with a sublime irony, from which the critics, slaves to the ceremony, once again only understood the form, remaining satisfied with the recognition of the "mistakes". The ironic meaning of these answers will only be deciphered by posterity.
How does limited relativity and the concept of space-time influence the understanding of your work, reflecting the complexity of forms and the relativity of human experiences that you enrich with your own imagination?
The theory of cinematography, formulated and revolutionized by a director like Eisenstein, revolutionized our understanding of the effects of creation, especially against the background of a vision that expressed the "shine of some constellations" in art. Special relativity introduces the concept of space-time, a four-dimensional continuum, similar to the complexity of the complicated and seemingly heatless forms in Eisenstein's works. This theory showed that time and space are not absolute, but relative depending on the observer, along the lines of a vision that emphasizes the interconnectedness of elements and the fluidity of perception. But especially along the lines of a vision that emphasizes the interdependence and relativity of human experiences.
The general theory of cinema expands on these ideas, describing gravity not as a force but as a curvature of spacetime caused by mass and energy. This reflects how the hot blood and burst of passion in Eisenstein's works create constellations of ideas. This curvature influences the motion of objects and the paths of light, providing a unified explanation for gravitational phenomena. In fact, Eisenstein's works influence the public's perception, transforming him from a "formalist" in the eyes of critics who only see form.
The sublime irony of Eisenstein's responses to these critics, enslaved to ceremony, remains understood only by posterity, similar to how general relativity was only fully understood after its publication.
How does your work influence the perception of audiences and critics, reflecting a unified vision of cinematic phenomena and the relationships between form and content?
Narrow relativity and the concept of space-time influence the understanding of the director's work, by reflecting the complexity of the forms and the relativity of the human experiences it explores. Just as time and space are relative and interdependent in special relativity, so in artistic creations, human forms and experiences are interconnected and changing, providing a dynamic perspective on reality. This reveals that artists' perceptions are influenced by context and their relative position in the "space-time" of existence.
As I said, the igneous rocks in Eisenstein's work are formed by the mineralization of his complicated ideas. They are often criticized for lack of warmth, an imputation arising from ill-will or misunderstanding of the unusually strong combustion of his passion. Like the magma that slowly solidifies under the surface of the Earth, resulting in large crystals, his work, despite the sterility of failed brain experiments, is irrigated with the blood of an incandescent passion that explodes and spreads in bright constellations.
Critics who do not have eyes to see, confuse the galactic light of his work with the twinkling of ordinary rhinestones, calling him "formalist". They cannot understand why Eisenstein states that his work includes (and at the same time is) every event that happened in people, in the world, in the Cosmos. His wry responses to these criticisms are like the complex chemical processes that determine the final structure and texture of a rock. The ironic meaning of these answers will only be deciphered by posterity, who will recognize the true value of his ideational brilliance.
A true artist transfigures his passion into a hyper-expression of his being, sometimes incomprehensible to ordinary viewers.
The Work That Includes All The Sterility Of Too Cerebral Experiences reveals the absence of genuine emotion and deep human connection. But in the case of the director Sergei Eisenstein, the hot blood of passion, full of incandescence, transforms these sterility into a creative explosion, with the brilliance of a constellation that floods his work. And an artist is truly fulfilled when they manage to convey genuine emotions and create deep connections through their work.
* Note: Ion Barna - Eisenstein, Tineretului Publishing House, 1966.
