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. .: , 1961. 228 c.
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Oil est le rapport?
En ceci que danse et dessin tirent leur origine dune meme source. Ce ne sont que deux aspects sous lesquels une seule et meme impulsion se materialise.
Ce nest que beaucoup plus tard, apres avoir renonce au dessin pour revenir encore, apres le paradis perdu et retrouve (cela date du Mexique), que je me suis vu gratifier du premier (et de lunique !) commentairc de presse consacrt; a mes talents de dessinateur.
Yoila comment la chose est arrivee et pour-quoi.
Cest au Mexique, je le repete, que je me suis remis au dessin.
Mais il faut tout dabord cxpliquer pourquoi jc lavais abandonne.
Et alors que jctais deja parvenu a ma vraie maniere, au dessin lineaire . ..
Ce ne fut pas tellement sous linfluence de Diego Rivera, de son trait gras et syncope, si different de la ligne mathematique , chere a mon cccur, qui sait rendre toutes les nuances de lexpression par la course ondoyante dune ligne continue.
3 Caricaturiste sovietiquc. De son vrai nom Orlov. (18831946.)
wash of the surfaces delineated by these contours.
At that period I drew awfully much and awfully badly, attempting to emphasize my originally correct source of inspiration by a series of low-caliber samples, and by the pered-vizhnikis passion for genre instead of the zealots search for form1 (which I took up with the same zest somewhat later in the theatre period" of my life).
For one reason or another, I still did not get down to learning how to draw.
And when I did begin attending the plaster of Paris," tea-pots," and mask of Dante" classes at school, I got nowhere.
And here it turns out that my recollections of my first dancing lessons are much more appropriate than might seem.
Or rather, not the lessons so much as my complete inaptitude in this field.
I have not been able to dance a waltz to this day, though I have dashed off a foxtrot in the most Negroid manner imaginable, and of all places, in Harlem. And quite recently, too, I danced myself into a myocardial infarct which laid me up for months.
What is the mystery of this, and where, the connection?
Drawing and dancing have, of course, sprung from the same seed, for they are merely two varieties of the same impulse.
Much later, after giving up my drawing and returning to itthe Paradise of Graphic Art Lost and Regained (which is what happened to me in Mexico)I had the honour of receiving the first (and only) press comment on my pictorial talent.
This is how it happened and why.
As I have said, I resumed drawing in Mexico.
But first, I ought to tell how I dropped my drawing.
In the traditional linear manner.
This was due not so much to the influence of Diego Rivera who drew in dense and intermittent strokes, and not in m\r endeared mathematical line capable of the whole gamut of expression which it attains only through a varying pace of continuous outlines.
In my earlier film efforts I also favoured the mathematically pure course of the directors line much more than the dense stroke of the emphasized film shot.
1 An untranslatable play of words. The Russian word peredvizhniki (the genre trend in Russian painting which derived its name from the in-tinerant society of artist, as the group called itself at first) and the Russian word podvizhni-ki (zealots) are similar in sound.
Dans mes premiers films, je metais laisse entrainer par la purete mathematique du montage con^u dans son mouvement, plus que par le trait gras que souligne la sequence.
Le gout de la sequence, si curieux que cela paraisse (et cest simplement logique, naturel rappelez-vous Engels : Cest le mouvement qui retirent dabord Vattention; ensuitc seule-ment pense a ce qui sc mcut! mest venu plus tard.
Au Mexique justemeiit, quand mon dessin a franchi letape de la purification interne, a force daspirer a 1abstraction mathematique, & la purete lineaire.
Car leffet devient particuliereinent saisissant lorsque, par le truchement de la ligne abstraite et intellectualisee , le dessin institue un rapport foncicrement sensuel entre des figures humaines placees dans des situations sortant de lordinaire et du sens coinmun !
(Dans leur Hist ire du cinema, Bardeche et Brasillach tiennent ce melange de sensualite soulignee et daptitude au maximum dabstrac-tion pour le trait fondamental de mon oeuvre ; cest bien flatteur et jy souscris volontiers.)
Je le repete : linfluence de Diego Rivera na pas tellement joue ici, encore qua quelque egard et a quelque degre ce peintre opere en soi la synthese de toutes les varietes du primi-tif Mexicain, des bas-reliefs de Chichen-Itza aux inimitables illustrations de Jose Guadalupe Posada pour les chansons des rues, en passant par les jouets primitifs ct la vais-selle peinte.
Non, linfluence qui a joue ici, cest plut6t celle des primitifs que pendant quatorze mois, la vue, le toucher et la marche mont appris a connaitre et & aimer passionement.
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