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This is an indisputable fact. We firmly attached to things. They organize our life and our lives. Moreover, our existence is subject to such an extent that at some point in life we feel this attachment as slavery. All these well-known enough to lead us to the truth of thought:theater, like life itself, the subject of most of the arts and the most victorious in overcoming this conflict, For the theater was able to make a substantive world of man shaped the world, metaphorically. Or - the metaphysical world. The theater has expanded the boundaries of reality while maintaining the most objective way of expression.He magically fused illusion and dream of a spiritual life, which is always in our lives, with the utmost specifics of his appearance. This is true - its physical, approached to us the essence is undeniable.He does not bear any transformed modes of expression, the actor on stage is always thought of as a physical reality and is in this sense that any spectator. It is tangible and material. And at the same time when the actor sees his work outside of this equality, there emerges something intangible.There is a great magic of compound physical and metaphysical world, is born the opened space of the human soul, placed in a closed box of the stage. Maybe, for this simple and obvious hidden mystery of eternal vitality of theater as an art form as close as possible to the human being and the human likeness?Entering the actor in a substantive and concrete world of life allows you to make the same magical transformation and objects surrounding it and interacting with it. During the stage action object without losing its real function, quietly acquiring more, he did not originally inherent.He spiritualized, saturated with other internal content. He becomes, writes literary Chudakov, "real sign of immaterial relations."Theatre succeeds like no other art, download movie right on Sado Maso
and to overcome the age-old conflict of the material and spiritual and create highly artistic "compromise." Again, of course, not the object itself, the thing on the stage performing this hard work.He reinvented only in connection with the actions, feelings and thinking actor entering into complex relationships with its environment, and partners. But at the same thing on stage and not just a tool, a means of technological artist.It acts as an important part of the visible invisible man's life, a kind of metaphysical component of the background and subtext role incorporates the main part of the spiritual life of the character.
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For the most part it takes over the functions of summarizing the inner meaning of what is happening, speaking at certain moments and familiar event-line performance.It is interesting in connection with this theme and ask a question - why Stanislavsky later in life turned to the development of so-called "method of physical actions", is directly related to the objective world of the play? Why is the genius of the theater was chosen as the main instrument of the actor's art seems to be a primitive way of creativity:from a simple physical action, ie certain manipulations with the object to another, then a third, and so on. e., is not line up a certain chain of behavior that can tell a lot about the inner life of man?