- .. " " ( )

.. " " ( )

.. " : " ( )

. ", , , " ( )

.. " . " ( )
 
 
history-library.com -> -> -> . -> " " -> 36

- .

. .: , 1961. 228 c.
<< 1 .. 30 31 32 33 34 35 < 36 > 37 38 39 40 41 42 .. 45 >>

The drawings of Sergei Eisenstein were a great help to the actors as well. Taking their clews from the expressions of the characters, they promptly and easily caught their spirit.
As for the composer, Sergei Prokofiev, he undertook to write the score for Alexander Nevsky only after a study of the drawings. These sketches must have been necessary as an initial impulse, as an emotional charge for the search of the musical texture of the film.
Eisensteins drawings are laconic of composition, chary of descriptive detail unless intimately woven with the inner meaning of the scene described. His ability to select the expressive
164
film devait strictement reproduire. Lessentiel pour lui, ce netait pas la ressemblance formclle de la sequence tournee avec son prototype dessine, mais le rendu du represente dans son essence, de la signification interne.
II est, on le con?oit, difficile de se livrer ici a un examen detaille des dessins si varies quEi-senstein a faits pour scs films. Nous nous bornerons a quelques-uns dentre eux.
La physionomie architecturaie de Novgorod de jadis, ses cathedrales, ses monuments dans le vieux style russc du Nord, sont esquisses sans appuyer.
Devant le dessin qui represente une des scenes de lassembl6e populaire, le rythme meme de laction devient immediatement sensible.
On se trouve ici en presence dune structure complexe correspondant rigoureusement a la croissance de la tension dramatique dans le scenario. Dun cote, un groupe qui forme un tout; de 1autre, une collection dindividus. Au chaos et au desarroi des nobles sur lestrade soppose la figure, fermement campee de Vassi-lissa qui leur fait face.
Le principc de la reproduction du trait essen-tiel de larchitecture et non point de lapparence superficielle a permis de trouver la solution la plus interessante au probleme du decor.
Dans les dessins comme dans le film, la scfinc des enfants briiles vif par les Chevaliers de l'Ordre teutonique au siege de Pskov, revet une signification psychologique intense.
Et void le dessin reprcsentant Alexandre Nevsky' v?tu dune longue chemise, les bras croises.
Dans limage dAlexandre, incarnation dun peuple qui tient a sa liberte, on retrouve le calme, la maitrise, le caractere indomptable du champion de la terre russe.
La methode dEisenstein se manifeste avec une force particuliere dans les dessins pour la bataille sur la glace du lac Peipous.
Dans ses etudes tres nombreuses sont fixes les episodes du combat et diverses variantes du dispositif dattaque des Teutoniques. Chaque dessin est un chalnon de laction en mouvement et non point un schema immobile pour la sequence.
A mesure quaugmente Faction interne aug-mente le dynamisme des moyens dexpression graphique. Le dynamisme des lignes rend au maximum le dynamisme du represents.
En ces dessins se reflcte comme dans un miroir le colons legendaire de lheroisme des guerriers russes. On trouve, pour ainsi dire, le coup daile epique de la valeur militaire dun peuple vaillant qui a defendu dans des combats acharncs sa liberte et son independance.
Les recherches sont non moins interessantes en ce qui coiicerne le typage des Teutoniques.
filming angles and find the best image of the shot, combined with striking brevity and expressiveness produce tense compositional solutions of the drawings so aptly responding to the dynamic nature of film art.
Sergei Eisenstein never regarded his sketches as fixed dogmas to be slavishly reproduced on film. It was not the external, formal likeness of the scene and its graphic prototype that he sought to stress, but the expression of the esscnce, of the inner meaning.
It is difficult, of course, to review Eisensteins drawings for the films in all their variety in a brief article like this: and we shall touch, therefore, only on some of them.
The architecture of ancient Novgorod with its astonishing cathedrals and structures in the ancient northern style of Russia is lightly drawn in sweeping strokes.
Looking at the drawing of a Novgorod Vetche (popular assembly), we distinctly feel the heart-beat of the scene.
Here, we have a complex composition of the scene corresponding exactly to the crescendo within the length of film involved. On the one hand, it is a group, an integral whole ; and on the other, a collection of personalities. The chaos and tumult among Novgorods quality on their dais is contrasted with Vasilisa facing them indomitably.
The principle of reproducing essential features and not the mere appearance of the architecture led to the most interesting artistic solution of the relevant scenery.
The scene of the burning of the children by the Teutons in besieged Pskov was evolved in dramatic and intensely psychological imagery, both in the drawings and in the film.
And here is a drawing of Alexander Nevsky in a long gown, his arms folded.
The figure personifying the peoples yearning for freedom breathes the calm resolution of the. unvanquished and strong-willed martyr for the land of Russ.
<< 1 .. 30 31 32 33 34 35 < 36 > 37 38 39 40 41 42 .. 45 >>
 

2013 HistoryLibrary. .