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. .: , 1961. 228 c.
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On scraps of paper you jot down a snatch of dialogue, or the disposition of the characters on the flagstones, or "instructions to the artist about the rounded-off edges of the vaulted ceiling, or. . . a note to the director about the rhythm of an as yet unwritten scene, or considerations to be submitted to the composer about the four component leitmotifs to-enhance the character of Ivan the Terrible himself, or suggestions to the poet about the nature of the droll ballad and stanzas that the future Foma and Ycryoma are to sing.
Or suddenly discarding all words and outlines, the scraps of paper fill feverishly with drawings.
Without a definite view of the motion, the action, and groupings it is impossible to register human behaviour on paper.
195
Cest si hallucinant, parfois, quon pourrait presque les dessiner sans rouvrir lcs yeux.
II faudra un an, deux, trois peut-etrc, avant le premier tour de manivelle.
Alors, on tache de fixer sur le papier le plus essentiel.
Et voil& un dessin .. .
Ce nest pas une illustration de scenario.
Et moins encore, un hors-texte.
Cest parfois lintuition premiere dune scene que le scenario va ensuite transcrire et enregis-trer.
Parfois aussi un procede empirique pour p re voir, & cette etape prcalable, le comporte-ment de personnages en train de naitre.
Parfois encore la notation abregee de la sensation que la sc.6nc doit faire naitre.
Le plus souvent cest la quete de quelque chose.
Une quete sans fin, comme celle, vingt fois reprise, du mouvement dune scene, de lenchai-nement des episodes, de lentrecroisement des repliques I'interieur dun episode.
Parfois, la sc6ne quon tournera naura, en apparence, plus rien de commun avec le dessin.
Parfois, elle sera, a deux ans de distance, ce dessin meme qui se met & vivre.
A moins quc le scenario dcfinitif ne laccueille pas et quil aille rejoindre 1amas des brouillons de scenes inutilisees.
Voire quen compagnie de la scene on lui refuse lacc^s du scenario provisoire.
Parfois, pourtant, de rigoureuses indications vont naitre de ces esquisses quant a la plantation des decors.
Ou ce sera un detail dc grimage, la ligne dun costume.
Ou bien les grands traits dune future sequence.
Ou un raccourci futur qui aura trouvc 1& son mod?le.
Rien de moins achcve que ces dessins, rien de plus fugitif: le plus souvent, 1auteur seul est capable de les comprendre.
Un exemple : les trois raccourcis dlvan-le-Terrible dans la scfine de la confession devant la frcsque du Jugement Dernier : ils ont 6te tir6s dune centaine desquisses.
Elements du processus dassimilation visuelle et dramatique, ces esquisses peuvent, sans doute, aider aussi a percevoir plus pleinement la pen see que lauteur a, pour linstant, notee seulement sur le papier.
Cest a cette unique fin que nous les publions, en depit dc leur imperfection artistique.
Des milliers de leurs semblables dorment dans les cartons.
Avec ceux qui vont voir le jour, elles sollici-tent lindulgence du lecteur: elles ne pretendent pas etre autre chose que de la steno plastique.
There they are roaming about continuously.
Sometimes they seem so tangible that one feels one could draw them on paper with eyes shut.
None of them are destined to face the camera for a year, two, and even three.
But one tries to record the essentials on paper.
And the result is a series of drawings.
These are not illustrations for the scenario ;
and still less, illuminations for books.
At times, they represent the first, fleeting impression of a scene to be copied and recorded in scenario form later on.
At times, they represent a poor substitute for the possibility to glimpse the behaviour of the nascent characters at this early stage.
At times, they are the quintessence of the reactions to be provoked by the scene in question, and more frequently, just searchings.
Such infinite searchings as changing the scene, the sequence of the episodes, and the remarks within the episodes, again and again, twenty times over, if necessary.
Sometimes the scene to be filmed in the future may seem to have nothing to do with these initial conceptions.
At times, this scene appears to be a draught of two years ago, suddenly come alive.
At times, this scene may be left out of the scenario with a heap of other notes.
At times, the scene may be omitted from the script along with the whole act.
But at times, these sketches yield the clew to rigorous pointers for the construction of the scenery.
At times they suggest this or that trait of make-up or outline of costume.
At times, they re-create the pattern of the future film shot.
At times, they seem to be the precepts of the actors future movement through space.
These sketches are the least finished, the most evanescent, and the most esoteric.
The three film views of Ivan in the scene of the repentance before the fresco of the Last Judgement are samples of these picked at random from hundreds of others.
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