“Remote installation“ of
Peleshyan Artur (Artavazd) Ashotovich (on February 22, 1938, Leninakan, Gyumri) is the ingenious director of documentary cinema, the creator of the doctrine “remote installation“
“One of the few original film geniuses“, - Sergey Paradzhanov so spoke of it. The method of remote installation opened by Peleshyan made revolution in cinematography. Here is how he spoke of a method: “Remote installation creates the magnetic field around the movie. Sometimes I also do not call the method “installation“. In some sense I destroyed installation, destroyed it by creation of cinema only on installation“.
The respectable public of the Rotterdam film festival long did not recover. Right after viewing of the movie she left the hall in search of the little Armenian girl. It was looked for everywhere: in a corridor, in the spacious foyer, in buffet and even at distance of 500 meters of a film - with such interval it also appeared on the festival screen, accompanied by the most powerful musical chord. However, to general amazement, at its last chord was not, myriads of Armenians looked from balconies at the source, but among these drops there was no one. It was looked for everywhere: in a corridor, in the foyer, in buffet, but found only in dreams: in an image of a teardrop she visited venerable film critics at night when those remained alone with themselves. Visited under loud music of Aram Khachaturian.
Never before Rotterdam so widely opened the mouth, as at that festival of cinema. At the city from surprise of a svisla locks, and the new current of cinema broke through dams. The well-known Dutch channels showed the main opening of a festival which awakened all Europe: Glasgow opened eyes, Paris ceased to bet in view of initial predictability of results. In 1988 the director Artavazd (Artur) Peleshyan finally won the Old World.
Extraordinary talent of the Master revealed extremely early - in student`s years - and since then did not leave it probably in view of the power of the charge any more. Of course, it made a certain impact on the director`s life, in particular having sharply narrowed a circle of his communication - the radius of the communication sphere equaled to parameters of original art. It also is clear: the creative person who is perfectly realizing the value of the word, second, a shot, episode objectively is not inclined to betray them, including in the order of the people who are not guaranteeing the designated radius. Here the individual approach because there is always a danger of inadequate perception representatives of means of information - the observations made to them and their representation in other context is very important.
And the context - words, seconds, a shot, an episode is a major component of its documentary art. Moreover, own invention of Artavazd Peleshyan.
“Remote installation of Peleshyan is capable to reveal secrets of the movement of all real in Space, - the French film critics claim. - The extreme force of influence every second screen time when flight of a bird, pass on a tunnel on the mountain highway, a crossing through the mountain river turn into the symphony of noise and rage“.
That December evening 2003 Andrey Konchalovsky called Peleshyan the genius, than and changed an original manner of the statement, he specially visited Moscow personally to hand to the colleague the award of “Monasteries“ founded in 2000 in the nomination “For a Contribution to the Film Chronicle“. Possibly, it is necessary to pay attention to the curious episode taking place at the time of the announcement of the nomination: lady Intriga occupying an honourable chair in a bed in a pearl necklace was hastily called by the high administration in the foyer, and therefore forcedly left. Later its thin mouthpiece was noticed in wardrobe, probably, “the false call“ was a convenient reason for evaporation. However, not about it.
“The award is handed to a velikomuartur to Peleshyan! - Andrey Konchalovsky was laconic. - Artur has each shot - a gold brick; ingenious Artur builds own gold temple“. And nevertheless, the famous director changed the originality: earlier the fact of genius of the documentary film maker was already established by Jeanne Luke Godard. Moreover, Sergey Paradzhanov managed to call Peleshyan “one of the few original film geniuses“.
The first works of the documentary film maker - put in 1960 - x years “Mountain patrol“, “The earth of people“, “Beginning“, “We“ - provided with its glory the reformer of world cinema; Peleshyan was compared to Sergey Eisenstein and Dzigoy Vertov. However, similarity was only external: two opposite vectors with use of absolutely different cinema means. Both Eisenstein, and Vertov connected and beat the “adjacent shots“ generating at the viewer various associations and symbols whereas Artavazd Peleshyan prefers to put necessary shots not nearby, and far apart. He narrates about it: “Eisenstein`s installation was linear, as on a chain. Remote installation forms the magnetic field around the movie. Sometimes I do not call the method “installation“. I am rather involved in process of creation of a whole. In some sense I destroyed installation, destroyed it by creation of cinema only on installation... At Eisenstein each element meant something. Individual fragments do not mean to me nothing. Only in the context of the movie. Only the movie matters“.
The famous American director Godfrey Redzhio is the author of the great trilogy “Katsi“ - does not hide the worship for creativity of the transatlantic colleague: “My idol in film Artavazd Peleshyan, the Armenian documentary film maker, the genius. If I make sparks, then it - fireballs“. Directors of traditional western cinema - Francis Ford Coppola, George Lucas, Stephen Sodeberg, and nevertheless are a producer of Redzhio: “My one and only teacher - the Armenian genius Artavazd Peleshyan“.
He was already famous director when at the end of 1960 played Azazello: in the period of “thaw“ Svetlana Druzhinina managed to remove 15 - the minute movie on one of plots of the well-known novel. However, it “the cultural hero acquainting men with war, and women - to lascivious arts“, all the time somewhere disappeared from a shooting stage; the movie was shot at studio of the VGIK.
And it, at everything while Azazello had a reputation for the person obligatory. Mysticism? However, with Mikhail Bulgakov it is made related by another: the “remote installation“ developed by it harmoniously is combined with architecture “Masters...“: to the ode - N and the same episode appears in absolutely different, including chronological, foreshortenings and is comprehended gradually.
The similar view is probably property of special category of the artists convinced of a possibility of numerous entry of the creative person into the same river. Moreover, in their opinion, each creator is simply obliged to do it from time to time. Others call such people geniuses .
From the book “100 most great Armenians of the 20th century“.