Even without knowing that he would become a director, Sergey drew clowns dancing on the Tsar Cannon and a cameraman. Clowns appear in Eisenstein’s first film, Glumov’s Diary, designed for the theatrical performance Enough Simplicity for Every Wise Man (1923). His childhood friend Maksim Shtraukh, with whom Rorik played the circus and theater at the Riga seaside, would become its participant in clown makeup.
At school, Sergey only received satisfactory grades for drawing. Drawings done one line are not accepted in class. One must learn to shade, to draw shadows. But Sergey’s pen is eager for freedom.
He would remain a master of graphic art all his life. Drawings done with one line are his poetry. His films are also a graphic art: on another material, with light on film. But the shots of Eisenstein the director resemble not chamber plays but monumental frescoes.
At school, Sergey only received satisfactory grades for drawing. Drawings done one line are not accepted in class. One must learn to shade, to draw shadows. But Sergey’s pen is eager for freedom.
He would remain a master of graphic art all his life. Drawings done with one line are his poetry. His films are also a graphic art: on another material, with light on film. But the shots of Eisenstein the director resemble not chamber plays but monumental frescoes.
