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Fairy tales of the Viennese wood
LOOK ONLINE How marvelous are director will form, the innovation seems clearer and clearer, even if it does not have the content any relation.And I firmly believe that these concepts are one and the unity of their means first of all the primacy of content. It dictates some form. Otherwise, what happens is that Stanislavski called kabotinstvom, referring to actresses who are trying to demonstrate poeffektnee auditorium own charms.Now, these are mainly engaged in the directors, as if leaving a bow after each staging. In short, the judgment of the methodology is different. Naturally, this is due to those offered by the new circumstances in which our society lives today. That is the revolution in our country.But after the revolution in the last seventy-five years with us, we will assume the second. After the first real opening was on the foundation of the Russian school of reformers scene.Four studios born Art Theatre, remained in search of history and innovation, as well as performances Vakhtangov Tairov, Meyerhold, who, by the way, in 1922, opened the Theater of the Revolution is a realistic performance.And, like bubbles in a puddle, then broke departmental studios and theaters, the bursting of theater improvisation "Semperante" where Levshina Bulls and played every night a new show on, say, "grimaces" or "Headfoot man." And, perhaps, all these experiments also suggested search imaginative expression.And he also thought - say, that the new elements "in the rubble of the past" should replace the old, obsolete. Do I have to protest against this kind of experimentation? Of course not, thank God, finally appeared different currents. The controversy, competitiveness and accelerate our main movement, a movement psychological theater.I am convinced that the theater - a phenomenon deeply national. But not download the film Desantura. Nobody but us ... and closed within national boundaries. And the Russian theater was never a closed system, so to speak, "the thing in itself." It easily absorbs and creatively rethought many other schools open and as generously gave and gives them their discoveries.In fact, this openness - all property of Russian culture. Pushkin was considered a Westerner, however he became the founder of the great Russian realist art. Therefore, I am convinced that, for example, the antagonism, which stubbornly assert ratio considering methods of Stanislavski and Brecht - nonsense dog.They are different. Yes. Brechtian aesthetics, certainly, is a phenomenon of the national German theater. But they are related - on purpose, in spirit. They are linked creatively.Pupil of Stanislavsky Eugene Vakhtangov, yearning and hunger in the dark about the Moscow festival, recognizing the need at a time of bright theatrical holiday, makes an emotional performance of his grain on the story by Carlo Gozzi play the game.And in the "warm heart", set in 1926 by Stanislavsky, already had all the factors of estrangement and alienation, which then we announced the principles of pure German theater.
WATCH THE FILM DESANTURA. NOBODY BUT US ... ONLINE But even Brecht principles then in 60 years, the Russian theater was able to take, to rethink and make a truly his.As for the reverse process - for example, I was simply amazed by the performances of my student Nekrosius, including "Uncle Vanya." What is found in Chekhov Nekrosius undoubtedly grew out of the traditions of Russian psychological theater and at the same time has become a cultural phenomenon - Lithuanian National Theatre.What is the difference search, say, Stanislavsky, Vakhtangov same Nekrosius the quest of many directors, and past and present?