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The series of representations entering our perception, our consciousness in some particular way, is retained ias an integral image composed of individual elements.
We have seen that memorizing consists of two very important stages: first, the formation of the image; second, the result of this formation and its significance as a memorizing factor. It is essential for the memory to pay as little attention to the first stage as possible and, passing through the process of formation as quickly as possible, come to the result. That is where life differs from art. We distinctly see how much the emphasis shifts as we turn from reality to art. And it is quite natural that, having the result in view, art uses all its subtle methods in the process of achieving it.
From the standpoint of dynamics, ia work of art is the process of the birth of an image in the spectator's senses and mind.* This is a trait of any really true-to-life work of art and the feature that distinguishes it from still-born works acquainting the spectator with the results of a past creative process, instead of involving him in the process as it occurs.
This condition holds good always and everywhere, whatever the sphere of art. Similarly, true-to-life acting is not copying the results of feelings, but calling feelings to life, compelling them to develop and overgrow into other feelings, in a word, to live before the spectator.
That is why the images of a scene, a sequence, a whole work are not self-subsisting entities, but something that must be called to life and must develop.
Similarly, if a character is to appear alive, it must unfold before the spectator in the course of action and not be presented as a mechanical figure with a fixed characterization.
It is very important for drama that the course of events not only supply the ideas about a character, but shape, "give image unto" the character.
Consequently, in the actual method of creating images, a work of art must reproduce the process through which, in life itself, new images are built up in people's consciousness and feelings.
We have used New York streets to illustrate this. And we have every
* We shall later see that this dynamic principle underlies all true-to-life images in the seemingly static art of painting.— Author's Note.
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