{"id":5295,"date":"2016-11-22T23:20:49","date_gmt":"2016-11-22T22:20:49","guid":{"rendered":"http:\/\/studiozenz.nl\/master\/?p=5295"},"modified":"2016-11-23T16:11:08","modified_gmt":"2016-11-23T15:11:08","slug":"eisenstein-en-prokofjiev","status":"publish","type":"post","link":"http:\/\/studiozenz.nl\/master\/eisenstein-en-prokofjiev\/","title":{"rendered":"Eisenstein en Prokofjiev"},"content":{"rendered":"
Uit: Marie Seton, Sergei M. Eisenstein<\/em> (Dennis Dobson, 1978) p. 385<\/a>\r\n\r\n\"sergeimeisenstei00seto\"\r\n<\/a>\r\n384 SERGEI M. EISENSTEIN \r\n\r\nspread over the opposite bank. The shore was overlaid with sacking ; \r\n\"hoar-frost\" on the trees was produced by covering the branches with \r\nwhite paint dotted with fluffs of cotton. The \"ice\", weighing 17.5 tons, \r\nwas supported by pontoons filled with air and concealed under water. \r\nAt a signal, the air was released from the pontoons and the \"ice\" \r\nsubmerged\/ 1 \r\n\r\nThe 'Battle on the Ice* was shot during the torrid days of July 1938. \r\nAs Tisse later explained, this created special problems. 'It must be \r\nremembered that in summer the atmospheric perspective is considerably \r\ngreater and the flocks of clouds are less dense, all of which, when mixed \r\nwith the sunshine, suggests warmth. In winter, on the contrary, the \r\ndome of the sky is nearer the earth and the clouds are thicker and darker. \r\n\r\n'We created a \"winter sky\" by two devices: careful composition of \r\nthe scene, and the use of the proper filters. As a general rule, we avoided \r\nfilming soft clouds. A severe aspect of the sky was successfully trans- \r\nmitted to the screen with the aid of a filter combining orange and \r\nbluish light. \r\n\r\n'Many people have asked why we chose not to use motor-cameras. \r\nHad we wished to use a motor-camera we could have filmed twenty- \r\nfour and a half frames per second. But what we wanted was to accen- \r\ntuate and intensify the rhythm of the battle. It should be borne in mind \r\nthat the weapons used \u2014 the swords, lances, axes, etc. \u2014 were mostly \r\nprops, and if filmed at ordinary speed, would have given the impression \r\nof being exceedingly light. Consequently, we shot almost all the battle \r\nscenes at a speed of from eight to twelve frames per second, thereby \r\nachieving a highly dynamic quality in all the various episodes of the \r\n\"Battle on the Ice\".' 2 \r\n\r\nEven though Sergei Mikhailovich was making a 'popular' film, he \r\ncould not still the drive of his intellect and the seeking of his very being \r\nfor 'creative ecstasy'. And once more he found it in the audio-visual \r\neffects created in collaboration with Sergei Prokofiev. As he revealed \r\nlater in his writings, Eisenstein delved deeply into the matter of sound \r\nand imagery while making Nevsky, his first completed sound film. \r\nThrough close collaboration with Prokofiiev, he was able to evolve \r\nnew lines of theoretical thought which advanced his true interests. In \r\nthis sphere, work on Alexander Nevsky was entirely satisfying ; in fact, \r\nas creatively enriching to Sergei Mikhailovich as any of his earlier \r\nwork. \r\n\r\nConcerning their collaboration Eisenstein later wrote: \r\n\r\n1 S. M. Eisenstein, 'Director of Alexander Nevsky Describes How the Film \r\nWas Made' (Moscow News, 5 December 1938). \r\n\r\n2 'How Winter Scenes Filmed' by Edward (Eduard) Tisse (Daily Worker, \r\nNew York, 16 April 1939). \r\n\r\n\r\n\r\n'my subject is patriotism' 385 \r\n\r\n'You'll have the music by noon.' \r\n\r\nWe leave the small projection-room. Although it is now mid- \r\nnight, I feel quite calm. At exactly 11.55 a.m. a small, dark blue auto- \r\nmobile will come through the gate of the film studio. \r\n\r\nSergei Prokofiev will emerge from the car. \r\n\r\nIn his hands will be the necessary piece of music. \r\n\r\nAt night we look at the new sequence of film. \r\n\r\nBy morning the new sequence of music will be ready for it. \r\n\r\nThis is what happened recently when we worked on Alexander \r\nNevsky. . . . \r\n\r\nProkofiev is a man of the screen in that special sense which makes \r\nit possible for the screen to reveal not only the appearance and sub- \r\nstance of objects, but also, and particularly, their peculiar inner struc- \r\nture. . . . \r\n\r\nAmong all the plastic arts the cinema alone, with no loss of ex- \r\npressive objectivity, and with complete ease resolves all [the] prob- \r\nlems of painting, but at the same time the cinema is able to communi- \r\ncate much more. . . . \r\n\r\nThe camera-angle reveals the innermost being of nature. . . . \r\n\r\nMontage structure unites the objective existence of the phenome- \r\nnon! with the artist's subjective relation to it. . . . \r\n\r\nIt is in this particular sense that Prokofiev's music is amazingly \r\nplastic. It is never content to remain an illustration, but everywhere, \r\ngleaming with triumphant imagery, it wonderfully reveals the inner \r\nmovement of the phenomenon and its dynamic structure, in which \r\nis embodied the emotion and meaning of the event. . . . \r\n\r\nHaving grasped this structural secret of all phenomena, he clothes \r\nit in the tonal camera-angles of instrumentation, compelling it to \r\ngleam with shifts in timbre, and forces the whole inflexible structure \r\nto blossom into the emotional fullness of orchestration. \r\n\r\nThe moving graphic outlines of his musical images, which thus \r\nrise, are thrown by him on to our consciousness just as, through the \r\nblinding beam of the projector, moving images are flung on to the \r\nwhite plane of the screen. \r\n\r\nThis is not an engraved impression in paint of a phenomenon, but \r\na light that pierces the phemonenon by means of tonal chiaroscuro. 1 \r\n\r\nWhen Alexander Nevsky was finished, Eisenstein the creator of \r\nthe intellectual film had evolved into the director of the spectacle \r\nfilm. \r\n\r\nCompleted in the record time of a little more than a year, Alexander \r\n\r\n1 S. M. Eisenstein, 'P-R-K-F-V', Preface to Sergei Prokofiev by Israel Nestyev \r\n(New York, Alfred A. Knopf, 1946), pp. ix et seq. \r\n2B \r\n\r\n<\/pre>\n
 <\/p>\n
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Uit: Marie Seton, Sergei M. Eisenstein (Dennis Dobson, 1978) p. 385 384 SERGEI M. EISENSTEIN spread over the opposite bank. The shore was overlaid with sacking ; “hoar-frost” on the trees was produced by covering the branches with white paint dotted with fluffs of cotton. The “ice”, weighing 17.5 tons, was supported by pontoons filled with air and concealed under water. At a signal, the air was released from the…<\/p>\n","protected":false},"author":1,"featured_media":5298,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,223,227],"tags":[221,222],"class_list":["post-5295","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-actuele-posts","category-film","category-literatuur","tag-eisenstein","tag-prokofjiev"],"_links":{"self":[{"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/posts\/5295","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/comments?post=5295"}],"version-history":[{"count":4,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/posts\/5295\/revisions"}],"predecessor-version":[{"id":5300,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/posts\/5295\/revisions\/5300"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/media\/5298"}],"wp:attachment":[{"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/media?parent=5295"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/categories?post=5295"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/tags?post=5295"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}