Film сандра балок to look online

It throughout the performance to be busy every artist. Lose sight of the most important task, forget about it - then interrupt the life line play.In this case, the role and the performance as a whole is doomed. Each role has its most important task that will reveal important task work as a whole. Defining it, the actor has to find her is akin to that of his own nature, in tune with his soul - but in this case he created the image will be vitally significant, hudozhestvennoubeditelnym.To achieve this, the artist must create a continuous line of events, actions, life line role - in other words, it is necessary to analyze the role. But how to do it in practice? Stanislavski offers that:- If in life, this line is formed by itself, on the scene, we have to create it, using primarily the role of the material, the rest of supplementing imagination. Each task gives a short line of life;These short life line will be logically and consistently hang one after another and in the end they all add up to large through the life line that runs through the length of the play in the role, directed toward the ultimate goal - to the overarching objective ... We need this line of life, without it, the actor - a traveler without a map ...Any physical problem - continued Stanislavski - do that before the end of the true, then made a number of such problems will create a line of physical actions, which creates faith and truth, as soon as the actor feels the truth outside line, he will certainly appear and extension;If the end truly perform tasks, actions, then any real right feeling. In order to complete the line of physical actions necessary to involve all elements of the system:truth, faith, 39 emotional memories, communication, device, logic and sequence of events, and so on, which are intertwined to form a through action designed to important tasks. Art of the actor is to know the logic of all the physical action of the play and to be able to string them on a thread-through.- For example, - says Konstantin Sergeyevich - Through the action of the play Famusov - dependence on the views of "Princess Marya Aleksevna." He is constantly concerned about: a permit if it is "Princess Mary Aleksevna"? And whether it will approve it? And the way she looks at the fact that he takes care of the maid? etc.If an artist does not know-through its role to play, not relying on it - so it does not act on the stage in the given circumstances, does not create the "life of the human spirit" of the role, and he does not do on stage, and just doing a separate, no interconnected system of exercises.But in this form, they are good for the class period, but not for performance. Look online. We must remember that these exercises and all that is contained in the system - you need to identify-through and opening super-task. In short, if the actor is familiar with the system, plays no-through - so he did not understand the essence of the system.So, for the first zanyatiirepetitsii "Woe from Wit", we learned that the work on the role of the method of physical actions must begin with a play by play "facts." In this case, in any case should not be left out of the attention and most important task through-action work. Finally, each lesson was ordered:consider a line of physical actions of its role in the first scene - "a date with Molchalin Sophia." Second class on the play, we were looking forward and quite understandable trepidation: now inevitably we were to appear on stage in front of the famous master.

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Film сандра балок
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exit Date on screens 00.00.0000
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