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Fairy tales of the Viennese wood
watch movies Marc Tich In the first case, the discrepancy between the rhythm dictated by the orchestra, and the rhythm of gestures and movements almost imperceptible; disorder them only that the motion did not attach meaningful and strong expressiveness, as required by Wagner, for example. But in the second case, the disorder is intolerable:first, because the music gets in disharmony with the reality zhestaavtomata, gestures of everyday life, and the orchestra is in bad pantomime transformed into a sideman playing ritornellos, refrain; second, because the viewer takes a fatal duality: the better the game, the more naive is the essence of opera;Indeed, the mere fact that people behave on stage as caused by the life, suddenly begin to sing - of course, it seems absurd. Tolstoy bewilderment at the sight of people singing is simple: singing operatic roles accompanied by the actual performance of the role, which inevitably will cause a sensitive viewer smile.The opera is based on conditionality - people sing; can not therefore be introduced into the game an element of naturalness, for convention, immediately becoming in disharmony with the real, reveals its alleged inconsistency, that is the basis of art falls.Musical drama should be performed so that a single second slushatelyazritelya no question why this drama the actors sing, not talk. An example of such an interpretation of roles when slushatelyazritelya is not the question, "why the actor sings and speaks" - can serve as a work of Chaliapin.