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Fairy tales of the Viennese wood
FILM KANTATAR And looking at the time:if the opera house is undergoing dramatic theater with a period when conventional prettiness reigns gesture resembling a puppet that was moving just to make it seem alive - game opera artists of this period is arbitrary, as was the conventional game of French actors age of Racine and Corneille;If the opera house is experiencing a time of dramatic theater hobbies naturalism, the acting becomes close to real life, and the place of conventional "operatic gestures" stand up zhestavtomat, very real, it is a gesture of reflex habit, they accompany us in our everyday conversations.In the first case the discord between the rhythm dictated by the orchestra, and the rhythm of gestures and movements almost imperceptible, but their disagreement is that the movement is not given a meaningful and strong expressiveness as required by Wagner, for example. But in the second case this disharmony is unbearable,first, because the music is in discord with reality zhestaavtomata, gestures of everyday life, and the orchestra, as in bad pantomimes, becomes a sideman, playing ritornello, refrain, second, because it is a fatal split in the viewer: the better the game, the most naive essence of opera; Indeed, the mere fact that people behave on stage as resulting from life, suddenly begin to sing - of course, it seems absurd. Tolstoy bewilderment at the sight of people singing is simple: the singing roles, followed by the actual execution of the role, will inevitably cause a sensitive viewer smile.At the heart of opera is a convention - people sing, why not enter the game element is natural, for a convention, immediately becoming in disharmony with real, reveals its alleged failure, that is the basis of art falls.Musical drama to be sung so that a single second slushatelyazritelya no question why this drama the actors sing, do not talk. An example of such interpretation of roles when slushatelyazritelya is not the question, "why the actor sings, and does not say," - may be the work of Chaliapin.He managed to stay on the ridge like a roof with two slopes without falling down or to the side slope of naturalism, or to the side of the slope of the operatic convention, which came to us from Italy, XVI century, when it was important for the singer to show art to perfection make roulades, when lacking any connection between the libretto and music.The game Chaliapin always true, but not life, and theater. She always download the film Kantatar and raised above life - a painted this somewhat true art. Benoit in "The Book of the New Theatre," is: "the hero will die, but in this destruction is important to feel the sweet smile deity."That smile is felt in some interchanges Shakespeare's tragedies in Ibsen at death Solynesa Hilda hears "Harp in the air," Isolde "melts in the breath of the limitless worlds." This same "sweet smile deity" is felt in the death of Boris Chaliapin at. Even if only one is illuminated at the time of death download the film Kantatar and Chaliapin "smile god"?Suffice it to recall the scene at the cathedral, where Mephistopheles - Chaliapin is not the triumphant spirit of evil, but pastoromoblichitelem, as if mourning the spiritual father of Margaret, - the voice of conscience.