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. .: , 1961. 228 c.
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The wisdom of Eisensteins creative method was fully revealed in the graphic treatment of the scenes of the Battle on the Ice.
The numerous drawings represent various episodes of the battle and give the different versions of the combat array of the attacking knights. Each drawing is a process in flux and not a fossilized scheme for the graphic construction of the film shot.
As the action mounts in intensity, the dynamics of expression keep growing as well. The linear dynamics prove to be the best medium to convey the movement of the scene.
These drawings faithfully reflect the epic colouring of the legendary courage of the Russian warriors. They reflect, as it were, the
Ces dessins dEisenstein frappent par lacuite des traits de caractere exprimes dans lappa-rence.
Ces etudes graphiques prevoient non seule-ment la solution plastique de plusieurs sequences, mais la technique qui permcttra de la realiser.
Les costumes dAlexandre, de ses compagnons darmes, des guerriers et des paysans sont simples et expressifs. Ce sont des costumes profondement populaires, tout penetres dori-ginalite nationale.
En depit des ressemblances superficielles, il a une difference de fond entre les dessins pour Alexandre Nevsky et ceux pour Ivan-le-Terrible.
Par la profondeur de lelaboration psycholo-gique des types et la, maitrise de lexecution les dessins pour Ivan-lc-Terrible marquent une nouvelle etape dans loeuvre dEisenstciti dessi-nateur, un plus haut degre de culture plastique.
Voici par exemple la procession dans la Sloboda. Limage plastique jetee sur le papier na pas seulement aide & r6aliser un tournage en plein air difficile : elle a permis de conferer a la scfine, sur lecran, une vigueur impressionnante.
La scene finale, le denouement, Eisenstein la traitee de fafon fort detaillee dans ses dessins.
On se trouve 1& en presence dune originale dramaturgie par limage laction interne ne cesse de se tendre jusqua ce quelle se resolve dans laccord final : la mort de Vladimir Andree-vitch qui acheve de demasquer Efrossinia Staritskai'a.
Nous navons aborde ici que lhistoire graphi-que de certaines sequences et de certains episodes, sans considerer dans son ensemble lopera-tion creatrice du metteur en sc6ne pendant la composition du film. Mais cela suffit a montrer I'cvidence que pour obtenir sur leeran leffet artistique le plus valable, il faut que le cineaste voie son film bien avant que ne commence le tournage.
En ce sens, la methode dEisenstein, la metho-de qui consiste dessiner au prealable le film, constitue un exemple a m^diter et a etudier en profondeur, un exemple classique.
giant sweep of the peoples valour in their fierce battles for freedom and independence.
The graphic preparations of many of the shots are not only stirring for their plastic solutions, but also provide for the ingenious technique of putting them across.
The costumes of Alexander, his associates, men-at-arms, and peasants, are simple and expressive. Each of them is true to the national spirit, to the traditions of the people.
The searchings for the figures of the Teuton knights are no less stimulating. Eisensteins drawings are striking for their psychological insight, vividly revealed in the image of every-knight.
Despite the seeming affinity between the drawings for Alexander Nevsky and Ivan Grozny, there is an essential difference between them.
Marked by a higher level of graphic art, the drawings for Ivan Grozny introduced a new stage in Eisensteins art for their depth of psychological treatment and skill of execution.
Take the drawings depicting the Cross and Banner Procession in the Alexandrov outskirts, for instance. Recorded on paper, the plastic vision of the scene not only helped to shape the work of open-air filming, but, what is most important, contributed to the vast impact of the scene on the screen.
The final scene which resolves the dramatic conflict received detailed treatment in Eisensteins drawings.
Here we are faced with unique pictorial dramaturgy with a mounting tensity of action resolving itself in the final chord of the film, the death of Vladimir Andreyevich, and the complete exposure of Yefrosinia Staritskaya who hatched the conspiracy.
Without attempting to deal with the whole creative process of the artist during the creation of a film, we have merely touched on the pictorial story of some shots and episodes. But even this will suffice to show that the best artistic result is achieved on the screen only when the film director has visualized the film long before the actual work of filming.
In this sense, Eisensteins creative method, the method of preliminary pictorial treatment is a classical example worthy of thorough and all-round study.
ɻ, ̻, 1939 .
Alexandre Nevski (Mosfilm, 1939) Alexander Nevsky produced by Mosfilm in 1939
Tournage dun episode sur le Lac de Plechtchecvo The filming of a scene at Lake Pleshcheyevo
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