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Of course, this theory can be easily intimidated by the actor;if he tries to apply it naively, suppressing their own instincts and turning himself into an intellectual, it would end badly. It would be wrong to assume that every actor can work independently with the help of the theory. None of the actor is not able to play a cipher:however stylized and schematic nor was the play, the actor must always be to some extent, believe in life on the stage of the strange creatures he portrays. Nevertheless, the actor has the right to use a thousand ways to play, and to play a portrait - not the only way.Brecht introduced the concept of an intelligent actor, able to assess the value of their own contribution. There have always been, and still there are actors who take pride in the fact that they know nothing about politics, and regard the theater, kick tower of ivory and bone. For Brecht, this actor is not worthy to rank among the masters.The actor, who plays in the theater, must with the same interest relate to the events of the outside world as their own. When the theory put into words, confusion. Brecht productions outside "Berlnnsr ensemble", download the film Voyage
and based on Brecht essay, Brecht different economy, but perhaps they lack the richness of its feelings and thoughts.Most vibrant theaters mertveyut when brute force disappears: dead dogma destroy Brecht. When Brecht spoke of understanding its function actor, he never imagined that everything could be the analysis and discussion.Theater is not a classroom, and the director, student apprehended Brecht also able to revive him play as a pedant - Shakespeare. The quality of work done at the rehearsal, depends entirely on the creative atmosphere - and the creative atmosphere can not be created artificially. Language rehearsals as life itself:It includes not only words, but also pause, parody, laughter, sorrow, despair, sincerity and secrecy, activity and inactivity, the clarity of Mr. chaos. Brecht admitted it all, but in recent years, he surprised his assistants, saying that the theater should be naive. From this concept, it does not cross out the work throughout his life:He POYASEGYAL here that the play - a form of the game, what to see a play - it's also a game, he download the film Voyage
and talked about the embarrassment of elegance and entertainment. It is no accident that many languages вЂ‹вЂ‹one n the same word is used to refer to the play and Ezgry.In his theoretical work of Brecht separates the real from the unreal, and I believe that this was the source of great confusion. In the subjective semantics always opposed to the objective, and the illusion is separated from fact.
Therefore, his theater had to withstand two lines.:public and private, formal n informal, theoretical and practical. His practical work is based out of a deep understanding of the inner life of the actor. ITS for he denies that life, because life is a terrible person acquires the label of "psychology."The word "psychological" is priceless and as a prominent argument "as well as" naturalistic "- it can be applied contemptuously to close the subject or the upper hand.