Celebrities Feedback Rating Russian
Search

Most popular
Pochepa Oksana (Shark)Pochepa Oksana (Shark)
Volkov Boris IvanovichVolkov Boris Ivanovich
Bernardo Bertolucci (Bernardo Bertolucci)Bernardo Bertolucci (Bernardo Bertolucci)
more persons......
News
Movies
Russia Is Great
Free mp3 download
Count of persons: 23165





All persons
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Sergei Mikhailovich Eisenstein

( Film director)

Comments for Sergei Mikhailovich Eisenstein
Biography Sergei Mikhailovich Eisenstein
(1898 - 1948)
Sergei Mikhailovich Eisenstein was born in a prosperous and cultured family. His father was the chief architect of Riga, where still stand sturdy houses built on its projects in the then fashionable Art Nouveau style.

. Sergei Eisenstein received a good education, he knew English, German and French languages, read a lot, was fond of drawing.

. The boy liked to be in the theater, the circus and Sunday performances at home
. Sam wrote to them play, painting scenery. He wanted to do this all my life. But the father has already determined his future. He wanted his son continued profitable and respectable business, and sent the boy in Riga real school, and after its completion in 1915 - in the Petrograd Institute of Civil Engineers. However, the institute Eisenstein was carried away by revolutionary ideas, and the third year he volunteered for the Red Army. He participated in the battles at Petrograd, build fortifications near Narva and Luga river, and in addition, decorated and staged amateur performances, drawing posters. After the demobilization of Sergei Eisenstein was sent to Moscow to study at the General Staff Academy in the Eastern Division. Simultaneously, Eisenstein began work by the artist of the Moscow Youth Theater "Proletkult". Appearing for the first time there, the young man said he was ready to write the scenery, put on plays, but will only do so in order to get to know the theater, and then destroy it.

. His first performance in the theater Eisenstein put on a play by Alexander Ostrovsky "Even a Wise Man Stumbles" and, . a written critique, . leave from her "some pieces", . retaining only the names of actors, . several replicas and some plot holes,
. In the play were introduced variety and circus acts and even a short film.

At the same time, Eisenstein published in the journal Lef article "montage of attractions", which set forth his views on contemporary art. It Eisenstein rejects the traditional theatrical performance, and declares a new principle of his organization, based on the "free assembly of randomly selected, independent ... impacts (Amusement). Under the attraction he understood the "strong, shock impact on the psychology of the audience, directing his thoughts and feelings of the artist in the required direction."

This search eventually led to the Eisenstein film. Together with his students, future outstanding Russian director Grigori Alexandrov, Maxim Strauch, Ivan Pyryev, he takes the picture "strike", which appeared on the screen in 1925.

. By the twentieth anniversary of the 1905 revolution, Eisenstein shot his second picture - "Battleship Potemkin", which is among the ten best pictures of the world of all time.

. Eisenstein's film is appreciated and the leading filmmakers of the world
. Famous American actor and director Charlie Chaplin called "Battleship Potemkin" "best films of the world", . American Film Academy has recognized his best film in 1926, . and at the Paris Exhibition of Art, the film won the highest award - "Super Grand Prix".,

. Analyzing the success of his film, Eisenstein came to the conclusion that with the help of mounting can not only figuratively, but also logically express thoughts, and send a special concept of cinematic language
. From these views Eisenstein has developed the so-called theory of intelligent cinema, "which he argued that the film has its own specific language that is specific expressive means, and the old artistic techniques he did not need.

. In 1922, . according to Marie Seton (we have to rely on her memories about all the main period of privacy Eisenstein, . 1920-1924), . during the rehearsals of the play Shaw in the workshop of Meyerhold, Eisenstein met with a young actor Grigory Alexandrov,
. Better known under the diminutive Grisha, he soon became a close associate producer, co-writer and assistant during the filming of "strikes", "... Potemkin", "October", "Old and New," "Long live Mexico!". Their first meeting was marked by a fight. At the times of famine in the theater was taken with a meal. Each carefully concealed from others of their breakfast. One evening, Eisenstein forgot to remove in a safe place loaf of bread. Alexander attempted to impose on her paw. Young people 'grappled like animals, "says Marie Seton. Then the young actor admitted that he had not eaten for two days, and Eisenstein gave him his loaf.

Grigory Alexandrov, who was then twenty-nine years, had a strong and regular features, the body of an athlete and beautiful blond hair. It was after the fight, writes Seton, Eisenstein opened the physical charm of a young man, comes from him the temptation, animal magnetism. Another important event happened later: in 1924. mother returned Eisenstein. She suddenly appeared in Moscow, without a livelihood, not just with hope, but with a firm intention to divide the life of his son. The reaction of her son: scared that invasion, lamenting mother, her shame of the new regime. claims to control, it removes it from Moscow and finds her an apartment in Leningrad. Mother does not give up: is at any moment, crying, showering son reproaches, accusing him of "immorality "(?), reveals his mail, spies on them by all means. "She can not call it hatred for women, but only fear," - naive (and carefully) writes Marie Seton. In the absence of written or oral testimony can recall figures of mothers (and what figures!) In his films "... Potemkin", "October". Besides, . Eisenstein's personal life, . his silence, . its screens, . his failure sufficiently clear to tell us, . What impressed the young man return to his mother, . and whether we have the right to criticize her for abusing her role.,

. For example, the young actress, whom he met at the Meyerhold and which saw the absolute ideal woman, he dare not confess his love, despite the fact that "he very much wants to ask behold hands
. It really is no connection between the tearful and filled with reproaches by the presence of his mother and that the fear of marriage? What happened was something that was bound to happen: she was beloved Grigory Alexandrov. "Sergei Mikhailovich so well concealed his humiliation, that few knew that he was permanently paralyzed". This phrase is a lot of comments. First of all, the first cause of this "paralysis" goes back, as we almost certainly have found a relationship with her father. Then you can ask a question, do not prefer it subconsciously Eisenstein, inclined to clean (impotence) in solidarity with his father and severely turn away from women the example of his mother, the idyll of young people, if not pushed them to each other.

. Contact Grisha's a girl to give him two advantages
. He got rid of the women, the presence of women from the sexual threat posed by women. At the same time, Grisha serves him doubly. Now he has a shadow, living for him, loving him, enjoying him. In all, what he lacked, he was banned, he can now participate only possible way for themselves: by proxy.

. This way of life in the orbit of the couple, I have not tried it before Eisenstein? He then moved to an adjacent room apartment where she lived a young couple: actor Maxim Strauch and Judith Glizer
. Maxim Strauch was a childhood friend, whom Eisenstein met in Moscow and through which entered the theater Proletkult. Judith Glizer too, was an actress. Eisenstein admired them and liked them very. Settled with them, he in some way involved in their married life: enjoy their warmth, their gaiety, without exposing themselves to the dangers of personal communication. By Grisha and his young mistress, he feels more than devotion. This second pair for him more than a couple of friends, more than a help than a consolation in solitude: the life Grisha becomes his life. He agrees to live through an intermediary. He concedes Grisha pleasure, which denies itself. "Eisenstein dire need to be with him. Physical beauty Grisha itself has no significance for him. This is not about homosexual drive. He wanted to live as live Grisha. Knowing that he can not, he could, but at least hope to live in its orbit. Now that Marie Seton itself makes this a problem of homosexual tendencies in Eisenstein, we can see why the problem put forward unsuccessfully. Marie Seton, seems to think that attraction is manifested in the positive consequences that it entails: grooming for the love, attempts to get closer to him and make him love me, etc.. Perhaps it is too early to explore whether there were homosexual tendencies from Eisenstein. We note only that, even if they had been, he certainly does not like to express their positive sign. They would have been subjected, like all that had to do with sex, repression and inhibition.

Recall the first meeting of Eisenstein with Alexandrov. Eisenstein snatches a young man, and they were fighting "like animals". Then, writes Marie Seton, Eisenstein looks at Alexander and sees its beauty and charm. But the event certainly did not develop so. Here's how one could describe their meeting as follows: Eisenstein has long seen the courageous and correct features, the body of an athlete and beautiful blond hair Grisha. Nevertheless, he feels no desire to approach the young man (general psychology), and the need to push (depth psychology). During their first meetings at the Meyerhold, he does not dare to speak to him. He waits for the case where it would not have suspected that he was looking for a contact. If between them and will form relationships, we must avoid at all costs, so they emerged on the basis of tenderness. Hence the fury with which he attacks the Grisha. At this time no one could suspect that he is motivated by a desire. He can create illusions ... How could he know, . is fighting, . to protect themselves against the test of his own attraction? Another advantage of struggle: an erotic touch phone, . ennobled by memories of fighting in the Mexican boxers: sweaty backs, . shiny skin, . tense muscles ..,
. Will not do forced conclusions, but if the initial fight anything proves that it is rather the intensity of homosexuality by Eisenstein, according to the valid use of suppression.

. Is not it strange, . that in the first two films of Eisenstein Alex play the most heinous role? What a pity, . that this lack of information! Who determined the choice of actors? Being requested whether or not Alexander himself? Easy Does he have agreed? Whatever it, . can note the following: a beautiful, . Living, . magnetic Grisha in Strike "appears in the form of repulsive Wizard, . persecutor of factory workers, in "... Potemkin" - in an even more hideous form of Senior Assistant, . Lieutenant Gilyarovskogo, . Rights, . commanding shot rebellious sailors, . then killing a bullet in the back of the head leader of the rebels, . hero Vakulinchuka,
. You can say whatever they want, but make a charming young man in a heartless killer - it is very similar to an unconscious ruse to ensure that drive the dream, to suppress the temptation. Homosexuality becomes a person for the first time a person owning class, the second time - the military, as soon as possible after this a little to be under the authority of charm? Now, Eisenstein in the shelter, he is saved. But how many precautions to protect themselves from danger! It must be great, if you gave birth to such protection ...

In the late twenties, Eisenstein, together with Mr.. Alexandrov and E. Tisza went on a mission to Western Europe and America to get acquainted with the technology of sound cinema. Before leaving, the director makes his famous statement that Leonardo, Marx and Freud had prevented him from becoming the second Oscar Wilde. The first stage of his trip - Berlin. It opens the night clubs, powdered young people, transvestites. This scene, according to Marie Seton, it revived concerns about its nature. "Why he did not want to love a woman? Why was terrified before sexual intercourse, why afraid, . that contact with a woman would deprive him of the creative force? Where did this obsession with impotence? "He goes to the Institute of Sexology, . founded by Magnus Hirschfeld, . and spends many hours, . studying the phenomenon of homosexuality,
. Everything is normal course: as always, he gets rid of that too close to his concerns, turning it into an object of culture and erudition. Marie Seton wrote that Eisenstein told her later: "The observations have led me to the conclusion that homosexuality is in all respects - a regression, a return to the past state of cell division and conception. This deadlock. Many people say that I - a homosexual. I never was, and I would tell you if it was true. I have never experienced such a wish, even in relation to Grisha, in spite of the fact that I have some bisexual tendency, as in Balzac and Zola, in the intellectual field. "

These words are no more convincing than all the rest. Eisenstein too quickly joins the science fiction notion that homosexuality - is a "regression". It only means that he went to the Institute of Sexology in Berlin, not in order to find arguments that allow him to be homosexual, then, to find arguments that finally persuaded him not to go this route. With regard to heterosexuality, it is protected by the fear of incest and the fear of impotence. Against homosexuality, he is protected biological hoaxes Magnus Hirschfeld and Freydovoy theory of sublimation. Did he understand himself, that he felt for Grisha? Role he gives Grisha in his films, offer us profound nature of his feelings. Similarly, should not rely on any other biographical evidence, nor to his own statements to determine the strength of his homosexual inclinations. We must turn to the movies, and even those where there is a component of the erotic as "Old and New" and "Long live Mexico!" And the exhibit, which is apparently beyond all of these problems, "Ivan the Terrible."

. Intellectual bisexuality Eisenstein rejects
. He prefers to stand in one row with Balzac and Zola, rather than with Michelangelo and Shakespeare. Whatever it was, to sink their personal problems in the world culture remains a favorite method of Eisenstein. Returning from Germany to Russia, Eisenstein staged his first historical picture of "Alexander Nevsky", where the first shot of the great Russian actor Nikolai Cherkasov (1903 - 1966). The invasion of German knights in Russia in XIII century was perceived at this time as a warning of fascist aggression. Therefore it is very symbolic looked finale film - the defeat of the invaders on the ice of Lake Peipsi

. Eisenstein believed, . that Freud's theory does not incite to the direct release of the trivial, . and to an even more profound suppression, . to pledge never to manifest itself differently, . than fully transformed into intellectual energy, . lifted up to the creative? What if the secret purpose, . Freud pursued, . - To warn our youth on the evolution, . from the inevitable liberalization of morals? What if properly understood, Freudianism - School of maximum suppression, . the greatest opportunity for humanity to produce Michelangelo, . Shakespeares, . Beethovens, . instead of wasting energy on meeting basic instincts?,

. "If it were not Leonardo, Marx, Lenin, Freud and the movies, I very possibly would be the second Oscar Wilde" - says Eisenstein, an American journalist many years later
. Under the "second-Oscar Wilde" He has in mind: to become not a homosexual, and those who follow their instincts (whatever it was), who makes his life work, who organizes the work around personal issues. To the same journalist Eisenstein, moreover, said: "Without Freud - no sublimation without sublimation - I just esthete a la Oscar Wilde. Freud discovered the laws of individual behavior, as well as Marx - the laws of social development. I deliberately used his knowledge of Freud and Marx to put my films.



But admit it, try to ease their anguish, not to rebel against the inclinations of his nature - it would not lead to large-scale building up. What won Eisenstein that freed a great sexual energy, the suppression of a stubborn little weaker, to pave the way, drop by drop from the separator? A happy life? Even so, we can not be sure. It is safe to say that in return, as well as in the case of Leonardo and Michelangelo, his genius has benefited from the suppression of human inclinations. The lesson, which is always unpleasant to hear, especially today, when the full freedom of the artist and the immediate satisfaction of all his desires are necessary conditions for the sincerity in his work. Eisenstein, his genius is not only closer to Shakespeare, Michelangelo or Beethoven, it is similar to them until the spells, which they have imposed on themselves, refusing to be happy on earth. Just as they were basing their art on the prohibition and the sublimation of sexual instincts, he may be, was the last representative of the race disappeared creators.
.


. br> Biographies Publications Annotations Miscellaneous


User comments
Write comment
  • Caesar for Sergei Mikhailovich Eisenstein
  • Where to download kniu Method (2 volumes) in electronic form
  • Caesar for Sergei Mikhailovich Eisenstein
  • Where to download kniu Method (2 volumes) in electronic form
  • Caesar for Sergei Mikhailovich Eisenstein
  • Where to download kniu Method (2 volumes) in electronic form
    Write comment
    Links by theme:
    Sergei Mikhailovich Eisenstein
    Sergei Mikhailovich Lyapunov
    MIKHOELS Solomon Mikhailovich

    Sergei Mikhailovich Eisenstein, photo, biography
    Sergei Mikhailovich Eisenstein, photo, biography Sergei Mikhailovich Eisenstein  Film director, photo, biography
    RIN.ru - Russian Information Network
       
       
       
    Copyright © RIN 2002 - * Feedback