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The outline of the preface to the work conceived on the work of the actor Stanislavsky encourages young artists to bold innovation, a creative imagination.A true artist, according to Stanislavsky, should aspire to more lofty goals to limitless horizons and perspectives, steadily moving forward, updating his art.Images of an eagle, soaring freely in height, and birds, closed in a cage, like them akterutvortsu, located in the life of limitless source of creativity and akteruremeslenniku powerless to break out of the "trap", is mired in a conditional deprived of creative freedom.In the notebook beginning 900s Stanislavsky notes that "on the scene a little impossible," you just have to "work and movie watch online Sandra beams
and think", "burn old and build new ships, "seek" new ways and new horizons. "The idea that realistic art differs breadth, diversity and vastness of their capabilities, runs through much of the material volume. In a series of papers in the following years Stanislavsky develops the ideas expressed by him in these early drafts of the preface, clarifies and develops them.For example, in the article "Director", relating to 1910, Stanislavski indicates that the true artist scene, reaching the nearest goal, "should immediately dream and make a new goal to achieve. It's painful, but in this movement forward the entire life of the actor element ".He hated satiety, complacency and indifference, and called for the winged, creative curiosity and daring. But, advising actors learn to "fly", "hover above the ground, affecting high themes and characters," he demanded that they treated their life truthfully."What is called now hover above the ground, it's a lie, pathos, broken," he wrote in a notebook 18991902 years. This observation is very characteristic of Stanislavsky, who, like NemirovichDanchenko saw true romance and poetry is not in touch with reality, and merge with it.Just as NemirovichDanchenko, he hated "theatrical romanticism," as opposed to something life as "a false form of" art. Romance and heroism were for him inseparable from life itself, from its sober and deep realistic display.Relying on covenants Shchepkina and Gogol "take samples of life and nature," he sought to break the shackles of convention and craft canons, free actors from the "slavery" of academic immobility, from the oppressive framework "suzivshih artistic horizons to the size of a small theater slit through which barely could see the real life. "Fighting for realistic art, he is always with passionate intolerant to all artificial and false, which distorts the talent of the actor. The film Sandra beams
. "Stamps, conventions shackles that enslave actors and deprive them of their liberty.Actors on my system are constantly fighting for their freedom, killing a convention and stamps. Actors of the old school, on the contrary, develop a stamp, that is tighter and tighter fetters himself in shackles, "he wrote in 1910.