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. .: , 1961. 228 c.
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But if the heroic is regarded with the dull
0
fondeur et do sa bcaute, devient au contraire nn monument du vrai dans l'art.
Mais on peut aussi considerer lheroique dun regard blase, routinier, ct cet art-la n est plus quune insulte a lessence ardente de la vie.
Eisenstein ne sest jamais laisse aller au dessechement de la routine. II a toujours etc un artiste, un homme qui avait ses idees a lui, son ceil a lui. Grand artiste dans scs films, il sest montre aussi grand artiste dans une des manifestations accessoires de son talent: dans le dessin.
* * *
En quelque domaine de lart quil opere, Iartiste ne peut rien tirer du neant: il lui faut lexperience et il lui faut le travail.
La vie de tout veritable artiste est une queie de 1image expressive.
Aussi un travail constant, regulier, inquiet, est-il necessaire dans toute creation : sans ce travail, 1 art n'atteindra jamais a une qualite valable.
Et toute experience authentique cn ce domaine constitue toujours une ecole irremplafable pour la representation artistique de la vie.
Cineastes et artistes ont a cet egard beaucoup a apprendre dEisenstein, de ses recherches permanentes ct passionnees de 1exprcssion.
C'est de dessin en dessin, desquisse cn es-quisse, a travers repentirs et remises en oeuvre, a force deffacer et de corriger, quEisenstein arrive aux compositions qui commencent a le satisfaire.
Sil sagit de compositions non destinees a un film, experience et trouvailles lui serviront par la suite; cest une documentation mise en
reserve.
Sil sagit dune composition pour un film, elle entre dans la marche gcncrale de lceuvre, elle devient document nouveau dans le mouve-ment et dans lespace.
Ce travail constant, de tous les instants, cette inquietude pcrpctuelle, ccst le vrai travail de Iartiste, et cest cette tension de l'esprit, cette inquietude vivifiante qui est unc des grandes legons dEisenstcin.
* *
Les dessins dEisenstein sont tr^s exprcssifs. Tls ignorent lindiffercnce et la froideur. Et cest en ceci que reside leur force.
Ces petits dessins et ccs esquisses d6bordent toujours de vie ct de passion, et Eisenstein dit toujours avee une force de conviction eton-nante ce quil veut dire.
Us possedent un caractere hautement the-tral au meilleur sens du terme. On retrouve
eyes of the copyist or tinkcrer, the ensuing art can only prove to be an insult to the throbbing csscnc.e of life.
Eisenstein never descended to the cut and dry view of the tinkcrer, for he was always an artist, a man with his own thoughts and outlook. A great artist in his films, he proved himself an artist as well in his auxiliary, pictorial gift.
* * *
No artist in any of the arts can snatch his results from the cciling, or achieve anything without vast efforts and experience.
The life of every real artist is spent in pursuit of the best expression for his model.
Constant effort, inspired and unceasing, is therefore imperative in every sphere of art, for without that effort the really valuable qualities of art will be lacking.
And every real effort in this direction will inevitably prove to be an excellent school on the path to the great artistic portrayals of life.
Eiscnsteins path to these great portrayals and his tireless, fervent searching for expression offer much that is instructive to both the directors and the artists.
Proceeding from drawing to drawing, sketch to sketch, repetition to repetition, and correction to correction, constantly obliterating what he had done, and trying anew, Eisenstein approached the level of composition which probably began to bring him some satisfaction.
If he was dealing with a composition apart from a film, its discovery and the experience it gave him were sure to come handy later on, for it was material which he kept in reserve, more likely than not.
If, on the other hand, he was dealing with a composition bearing directly 011 a film, it was sure to flow into the vast general course of the latter, finding its place in the new material, in motion and space.
This constant, anxious work carried on from hour to hour is the real work of the artist. This tense and poignant anxiety of Eisenstein at work could indeed be instructive to many.
* * *
Eisensteins drawings are very expressive and never indifferent or apathetic. It is to this that they owe their power.
Inevitably pervaded with real passion and something very much alive, his small drawings and sketches express his ideas with astonishing conviction.
They are always theatrical in the best sense of the word, and vibrant with the eccentric spirit of the circus, for the theatrical spirit of
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^ -ssi a un degr6 eminent lame du cirque. Thefi-tre et cirque ont etc sans doute necessaires ici r :-r hausser la representation du reel jusquaux unites de lexpressif.
C'est par ce cote theatre et cirque que les irssins dEisenstein, non point au bout du r-impte mais en leur esprit et leur essence rappellent 1univers de Toulouse-Lau-
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