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). / 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).

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). / 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).

The Constructivists wholeheartedly endorsed the future of Soviet socialism and they took a leading role in shaping proletarian ideology. Drawing on Bogdanov’s theories of tektology and proletarian art, the Constructivists synthesized their artistic vision with the proletarian cultural movement. The Constructivists’ desire to organize the collective as “worker-organizers” through “production” art was indebted to Bogdanov. In this regard, Constructivist work during the laboratory phase is paramount for understanding the role that Bogdanov’s tektology played in the development of Constructivist theory. In 1929, Dziga Vertov produced Man with a Movie Camera, and an analysis of tektological methods used in this film reveal Vertov’s ideological motivations. It is on this basis – building ideology – that tektology furnished a viable solution to the Constructivist pursuit of uniting the theoretical and the practical in their art.

The Constructivists wholeheartedly endorsed the future of Soviet socialism and they took a leading role in shaping proletarian ideology. Drawing on Bogdanov’s theories of tektology and proletarian art, the Constructivists synthesized their artistic vision with the proletarian cultural movement. The Constructivists’ desire to organize the collective as “worker-organizers” through “production” art was indebted to Bogdanov. In this regard, Constructivist work during the laboratory phase is paramount for understanding the role that Bogdanov’s tektology played in the development of Constructivist theory. In 1929, Dziga Vertov produced Man with a Movie Camera, and an analysis of tektological methods used in this film reveal Vertov’s ideological motivations. It is on this basis – building ideology – that tektology furnished a viable solution to the Constructivist pursuit of uniting the theoretical and the practical in their art.

La Révolution russe permet l'épanouissement d'un milieu artistique expérimental où les artistes intègrent l'art à la politique. Les structures gouvernementales sont radicalement changées et l'institution du Proletkult, enfant de la Révolution et de l'idéologie de la culture prolétarienne, annonce une nouvelle ère démocratique inspirée de la philosophie marxiste. Alexandre Bogdanov propose un mode de vie ouvrier basé sur l'enseignement et la création artistiques. En favorisant l'expression et en valorisant la spécificité de la classe ouvrière, Bogdanov et ses collègues du Proletkult font naître un nouvel art au contenu fortement idéologique et aussi un nouveau type d'artiste engagé. Plusieurs théoriciens et artistes d'avant-garde, qui veulent s'engager dans le mouvement révolutionnaire, notamment les Constructivistes et les Productivistes, participent au développement idéologique et pratique du Proletkult. Ces artistes-intellectuels y voient un lieu favorable à l'éveil d'une vraie conscience de classe du prolétariat ouvrier à travers les possibilités de création et d'invention qu'offre la production culturelle et artistique. En outre, en réfléchissant à la mission de l'artiste et à la définition de l'art, ces théoriciens et artistes se retrouvent intrinsèquement lié à la pensée bogdanovienne.