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Master's Dissertation
DOI
10.11606/D.27.2009.tde-30112010-150826
Document
Author
Full name
Peterson Soares Pessoa
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2009
Supervisor
Committee
Martins, Luiz Renato (President)
Pasta Junior, Jose Antonio
Xavier, Ismail Norberto
Title in Portuguese
Stachka: um ensaio sobre os antagonismos
Keywords in Portuguese
A Greve (Stachka - URSS - 1925)
Eisenstein
Encomenda Social
NEP
Proletkult
Abstract in Portuguese
O presente trabalho analisa a maneira como a noção de encomenda social se apresenta na obra do cineasta soviético Sergei M. Eisenstein (1898-1948), em seu primeiro filme A Greve (Stachka, URSS, 1925) , no âmbito de sua relação com o Construtivismo Russo (vanguarda artística soviética, que perdurou nos primeiros anos da década de 1920) e o movimento da Cultura Proletária (Proletkult) A análise parte da perspectiva proposta pelo historiador François Albera, em Eisenstein et Le Constructivisme Russe (1989), que considera, como fundamento da atividade artística construtivista, sua preocupação com a dimensão social da pratica artística. Para Albera, a noção de encomenda social, na acepção do escritor e dramaturgo Sergei Tretiakov (1892-1937), é um conceito chave para se entender como os artistas construtivistas compreendiam sua missão social. A pesquisa realizada demonstrou que a teoria da "montagem de atrações" de Eisenstein se constituiu num modo de construção artística, nos âmbitos do teatro e do cinema, que tinha como diretriz o trabalho com as emoções do espectador. Tal forma de práxis artística, articulada ao conceito de "encomenda social", ligava-se à nova escala da luta de classes, na chave posta pela implementação da Nova Política Econômica (NEP).
Title in English
Stachka: um ensaio sobre os antagonismos
Keywords in English
Eisenstein
NEP
Proletkult
Social Command
Strike (Stachka - URSS - 1925)
Abstract in English
The present work analyzes how the concept of social command is presented in the work of Soviet filmmaker Sergei M. Eisenstein (1898-1946) in his first film Strike (Stachka, USSR, 1925) - within the sphere of his relationship with Russian Constructivism (Soviet artistic avant-garde, which lasted in the early years of the 1920s) and the Proletarian Culture (Proletkult) movement. The analysis starts with the approach proposed by the historian François Albera, who considers the social dimension of artistic practice as the foundation for constructivist artistic activity. For Albera, the notion of "social command" as defined by the writer and dramatist Sergei Tret'iakov (1892-1937), is a key concept for understanding how constructivist artists understand their social mission. The research presented demonstrates that the theory of "montage of attractions", developed by Eisenstein, constitutes a mode of artistic construction which shapes the emotions of the spectator in both theater as well as cinema. This form of artistic practice, articulated by the concept of "social command", is linked to a new level of class struggle as produced by the implementation of the New Economic Policy (NEP).
 
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Publishing Date
2011-02-21
 
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