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Stanislavsky is the characteristic confession: "Good words, he says, do not come when all means at any cost want them to say, and then, when you do not think about them when they become necessary. For example, I do not know how to philosophize, to create one aphorisms, alone with himself.But when you have to prove his point to another, then philosophy becomes necessary to me for evidence and aphorisms are themselves. "Memoirs of Stanislavsky inherent amazing agility. And of Stanislavsky reader sees all the time in the development, on the move, in the development of its social and artistic views.This creative growth of the artist and the person reflected in the architectonic "My life in art." Each of its parts is called from an artistic age. Artistic childhood gives way to artistic adolescence, artistic youth goes to artistic maturity.And when following the creative life of Stanislavsky in the years of maturity, you realize that she would never have turned in his artistic old age.Work in recent years on the study of foreign and domestic art of theatrics, he knew that the artist can not grow old, because, according to him, the more will live actor, so it will be in the area "more experienced and stronger."IV for the new edition of "My Life in Art" as the first volume of the collected works of Stanislavsky was supposed to check the printed text books with the manuscript and proofreading materials that belong to the 1st edition in 1926.However, the textual task proved almost impossible, as in the archive of the Museum of the Moscow Art Theatre survived only a small part of the manuscript, proofs and layout. Not preserved manuscript of the original version of 1924.The text of "My Life in Art" is reproduced in the first volume of the collected works of the last lifetime edition of 1936. Nevertheless, the work in the archives of the Museum of the Moscow Art Theatre not been fruitless since managed to find a number of unpublished chapters and passages of undoubted value.This made it possible to implement the first volume of a particular application in which printed the most important of the newly found materials. Among the new publications should first highlight Stanislavsky statements about the work of Chekhov.When in the 1920s the vulgar "sociologists" tried to declare the work of Chekhov's outdated and has lost all importance for the revolutionary time, Stanislavski with sincerity and emotion rose up in defense of the great writer. We have already cited one of these remarkable passages.In another previously unknown utterance Stanislavsky detail develops the idea of ​​Chekhov as a singer "bright hopes and aspirations." "Chekhov is not retarded bourgeois wrote Stanislavski, but rather looking too far ahead idealistmechtatel." And then we read: "No you can not Chekhov, as well as possible without Pushkin, Gogol, Griboyedov, Schepkina.The film they fought for their country. These are the basic pillars on which rests the entire weight of the building of our temple of art. "Very significant variations chapter "Little Theatre", where a sense of patriotism hot Stanislavski speaks about the indifference of Europe and America that have not taken the trouble to understand what the Little Theatre Schepkinskoe pores in no way inferior to the famous theater in France, Italy, Germany, England.Raises anew the issue of artist Stanislavsky theater in the chapter "The dispute with the artist." With all the sharpness Stanislavsky requires that the artists worked together with the theater "porezhisserski, poakterski on the analysis of the play, on the cognition of her life."Stanislavsky does not hide his indignation by decorators, who use theater as a frame to display his paintings.















































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