The section groups films in directors. Here you will familiarize with biographies and films of outstanding directors. The director – the principal person when shooting. Into the task of the director enters to turn the scenario into a film. And success or a film dip depends on the director. It is possible to tell still that the director is the artist who writes scenarios, plots, game of actors, operation of operators and a great number of other people which are anyway involved in process of creation of cinema. The section acquaints with outstanding directors of the USSR, Russia and everything which films make gold fund of cinema. Having selected the favourite director, you receive the list of its films and can watch movies online or download films. As it was already told, the kinomusorka in a bigger measure represents films of the USSR and the Russian films therefore the section on directors as focuses attention on Soviet, Russian and directors of CIS countries. In this section of a site you will meet Igor Zajtsev, Otar Ioseliani, Leonid Gajdaj, Grigory Kozintsev, Sergey Bondarchuk, Rashid Nugmanov, Sergey Snezhkin, Roman Kachanov, Alexander Proshkin, Leonid Pchelkin, Nikolay Dostalja, Tatyana Lioznova, Stanley Kubrick, Roman Polanski, James Cameron and other remarkable masters of the film.
СМОТРЕТЬ ФИЛЬМЫ ОНЛАЙН
Clockwise rotation Appiah finds it impossible;dramatic concept, created without progress through the music, gives useless libretto. And yet, as clearly defines the relationship between the elements Appiah Opera: Music that defines the entire proceeding on the stage, gives a rhythm that has nothing to do with everyday life. Life is music - not the life of everyday reality."Life is not the same as it is, not what should be, and as it appears in my dreams." Stage rhythm, the whole essence of it - opposite the essence of the real, everyday life.Therefore, the entire stage appearance actor must appear artistic fiction, sometimes, perhaps, based on a realistic ground, but eventually appear in the image, is not identical to what we see in life. The movements and gestures to be an actor in a suspended pendant razgovorupeniyu.Skill actor naturalistic drama - in the observation of life and in the transfer elements of observation in the creativity, skill actor musical drama can not subordinate themselves to only one experience of life. Mastery of naturalistic drama actor is in most cases in the subordinate tyranny of his temperament.Full prescribing a specific meter, a musical drama actor exempt from submission to arbitrary personal temperament. Musical drama actor must understand the nature of the score and translate all the subtleties of the language of drawing orchestral plastic figure. And actor musical drama will achieve excellence in physical flexibility.The human body - a flexible, mobile, becoming the ranks of "spokesmen" with the orchestra and the situation is beginning to take an active part in the stage movement. Man with sogarmonicheskoy soritmichnoy decor and music is a work of art is.What is the human body, flexible service for the stage, flexible in its expression, reaches its highest development? In the dance. For the dance is the movement of the human body in a rhythmic field. Dance for our body is the same as the music for our feelings: artificially created, do not pay for the promotion of knowledge form.Musical drama by Richard Wagner described as "a symphony, which becomes visible, which makes clear in plain sight and action." Symphony also valuable for Wagner concluded in her dance foundation.
СМОТРЕТЬ ФИЛЬМЫ ОНЛАЙН
But how to achieve this in the works of Chekhov, his deep uncertainty, where people often feel and think is not what they say?Too detailed psychological analysis, baring the soul, would deprive Chekhov inherent poetic haze. Uncertainty as to the psychology would deprive artists of the last pole in their experiences. What to do? To play by Chekhov, have imbued scent of his feelings and hunches, it is necessary to guess the hints of his deep, but unsaid thoughts.One of the meaningful tools for this kind of experience at work is the artist's subtle sense of literary works of the poet. In the works of Chekhov's literary requirements of the artist achieves an extremely large size and value. To get them from the company, not enough to be a teacher and the director should be a writer.The honor of this complex task in our theater belongs Vl. NemirovichuDanchenko, which owns and most thought the play "The Seagull" and the group's claims presented a poet, writer, director, artist created quite _n_ o_v_ a_ya_ for artists scenic atmosphere.Through numerous experiments, thanks to the talent of artists, their ability to work and love for the cause of the theater managed to find new methods of scenic interpretation, based on the covenant Shchepkin and innovation Chekhov.Unfortunately, these techniques
and developed by creative and production remained secret of our theater, as they, for some reason, have been wrongly interpreted only from the outside, that is the least important part of them. The inner their essence is not understood at present, many of those to whom it would bring its share of benefits.New techniques Chekhovian drama served us as a basis for further artistic development. Theater studied them in a number of stage productions they had an impact on most repertoire and, perhaps, to the playwrights themselves.Naturally, these techniques work, based almost exclusively on the finer points of artistic experiences and literary flair, were not available to all and not all the plays the same way. When
and applied to the plays, designed for theatrical effect and the pathos of the actor, the outside setting has a strong and truthful than the experience itself.Other staging plays, such as Shakespeare, happened the same, but for different reasons.