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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.
Fairy tales of the Viennese wood
СМОТРЕТЬ ФИЛЬМЫ ОНЛАЙН I had to make a detailed examination of some of the provisions of chapter "External Equipment actor" from the book Tairov because the actor's skill correctly assumed from both higher education and the real content of the theater.The poor actors who "gives his book" Tairov. What they are unaware at every step with the leader who is trying to correct Craig is what Tairov powerless to understand. See:in 1921 Tairov repeats almost every page many of the leaders of that theatrical revolution in Russia and the West, it was written in the period 1905 - 1917., and much is still not clear to ourselves inexcusably distorted. 40 Period styling is by Tairov thunder and lightning.He does not understand that vozniklato stylization as the need to bring actors from the anarchy of the naturalistic theater and lead to the realization of organizational started conventional theater. Tairov theoretical part with the "children's amusement facilities" revolutionary theater 1905 - 1912's, but in reality? ..Open the book Sylvain Levi В«Le theatre indienВ», subtract the recipe on the selection for the "basic emotions plays" corresponding colors, "take line" the book "for the outcome of" staging "Sakuntaly" - Tairov not considered a sin, but the fact that the director conventional theater brought to rehearsals, "Sister Beatrice" Memling's monograph, which helpedactors understand myself some formal job director seems Tairov greatest crime. Tairov, you see, does not set out the tasks of reconstruction, but why did you then sit all day in the Hindu halls Musee Guimet in Paris on Rue d'lena or the London museums to zacherchivat plans for the upcoming performances?"Other groups seemed Pompeian frescoes, and reproduced in living picture" - describes the play "Death Tintagiles." Is it not also tell us about the play "Sakuntala" seen him?And if it will be necessary to establish the difference, it is only in that in one case, the composition is not random, and in the other - all the "groping", as all the work Tairov in all the ways.The fact that so too Tairov pedaliruet his desire at all costs to dissociate themselves from the conventions of the theater, and especially hard attacks his stilizatsionny period, author of the book gives a headTairov knows that with the amount of knowledge which he had in the theater there, will not go far, and the Chamber Theatre, in addition to the purely amateur his face, bears the unmistakable imprint too epigones.If the ways of breaking the naturalistic theater experiences Teatrastudii Moscow, and St. Petersburg theater Komissarzhevskaya of directors and teachers: Evreinov, Komissarzhevskaya Miklashevksy Meyerhold, Vl.Solovyov Gnesin - if these experiments were revolutionary, not reformist, then Tairov failed to become a pioneer in the new period to replace the conventional theater.If the child Tairov - Chamber Theatre - too clearly points to the fact that in it we continually see a rehash of the old motifs 41 conventional theater period Komissarzhevskaya - Tairov involuntarily in the declarations of its persistently emphasize ostensibly very different approach to the solution of the problems of theater, which have long been resolved and waitingthe sole purpose of them, with a scientific approach to the issues of literacy in the area of вЂ‹вЂ‹theater and stsenovedeniya may soon transferred to the mortuary arts.The initiative of the scientific approach to a variety of theatrical problems already been made, and we can expect a lot from the Scientific Department of the State Higher directing workshops, worked with the fundamental questions of art theater.Meanwhile, with the departure from the theater front Theatre RSFSR First, we do not see who would be able to continue virtually start monumentalnogeroicheskoe under "style of the Russian Federation." Locations of our theaters are clearly defined in the aesthetic formulas theater today.And in the identification of these areas will have to be guided by, giving us a close view of the past, but have departed in history, despite the fact that it was a not-so-distant years:1905 - After searching ebullient 1905 - 1907, strongly indicated in the 13 opus'ax РїРѕР»С‚Р°РІСЃРєРѕРјРѕСЃРєРѕРІСЃРєРѕРїРёС‚РµСЂСЃРєРѕРіРѕ my period of "Death Tintagiles" to "Puppet" - "Puppet Show" The determinative is on the verge of the new year 1907. With the "Puppet Show" starts the movement and agony three trends: I.The new theater, poborovshee and replaced the naturalistic theater. When the old lady climbed to the edge of the fountain and taking a relaxed pose, smiled at the camera, it was as though the eighth figure on the fountain. It was monstrous, but the young her husband did not even pay attention to what company he removes his millionaire.If they honored the company with their attention, so she chegonibud so worth it! Took off, they went to the Palace Museum. My way, on the contrary, was the museum in the park. Park lay down grounds with ponds away to the horizon, framed by dense ancient alleys.In the mirrored waters sailed clumps of clouds, and it seemed to me that the most active, the most real of all impressions - a reflection of the facade of the Palace of Versailles, with its light white columns, slightly elongated, trembling in the water fountains spring breeze ripples from. It was always, it was a living witness of all that happened here over the centuries ...I went outside the palace residence. In a small area, I again saw the American couple, they entered the restaurant. And I remembered the wonderful story from the book of Marcel Shining "Goodbye, Edith." ... It was in the days of his youth Edith when she was not yet Piaf.When she had to wander with Jean and Zephyrinus two same street singers like herself, on the streets and barracks. The three of them somehow come to Versailles, where the next day was to open the fair. They roamed the streets are very hungry. And suddenly stopped near Edith luxurious restaurant. - You do not sleep, IOM?-zhalis artists to the wall. - I know what I'm doing! They came in and took a small table. Edith strongly waiter, asked for the menu and ordered the most expensive dishes and excellent wines. Choking, Jacques and Zephyrinus started eating. And Edith, forgetting about everything, enjoy, more than ever, gourmet kitchen, chatting, having fun.And, as if playing the role of a wealthy lady of good society, did not pay any attention to the owner of the restaurant, from watches for suspicious company. His wife sat on hand and had to be moved with indignation replicas with her husband. When the coffee was served, Edith beckoned host. He approached. - Dinner was excellent, monsieur.