The life of the brilliant Soviet film director Sergei Eisenstein was filled to the brim with creativity. He became one of those who were looking for new approaches to creating images. Not all of his experiments met favorably with the authorities. However, the audience accepted Eisenstein’s work and looked forward to his new directorial work.
From the biography of Sergei Eisenstein
The famous Soviet film director was born in January 1898 in Riga. Sergey was the only son of his parents. His father, Mikhail Osipovich, was a real state adviser and knew European languages well, and was punctual in matters. The mother of the future filmmaker, Julia Ivanovna, came from the family of a noble merchant who owned a shipping company.
Sergei Mikhailovich received a standard bourgeois education. From childhood he was addicted to reading, he drew beautifully. Among his hobbies was the theater. From a young age, he diligently mastered foreign languages.
But Eisenstein’s childhood was by no means cloudless: quarrels often occurred in the family. In 1912, a final break occurred between the parents. By court decision, the boy was left with his father.
Three years later, Sergey graduated from the Riga Real School, after which he continued his education at the Petrograd Institute of Civil Engineers. But he did not complete his studies: he volunteered for the Red Army.
Subsequently, Eisenstein was able to work as a construction technician and artist at the Army Political Administration. He was pleased to participate in amateur performances, trying himself in the role of actor, director and artist.
In 1920, Sergei Mikhailovich was assigned to the Academy of the General Staff, where he studied at the courses of translators in the Japanese language class. But after that, he went to work in the theater - a simple graphic designer.
In subsequent years, Eisenstein attended classes in the director's workshops, which was led by V. Meyerhold.
Eisenstein's early creative experiments were aimed at scrapping traditional theater thinking. He was closely within the framework of conditional art that dominated the scene of that time. Therefore, the transition of Sergei Mikhailovich to the cinema was logical.
