FILM DIAMONDS FOR THE DICTATORSHIP OF THE PROLETARIAT
Hide behind - just as foreign specificity covered unable actor. But now the time has passed - and that remain in the memory? It remains eternal.Therefore, speaking of the methodology, first of all, we must decide in the social conditions in which the theater is developing today. That is - what the audience expects from him? That today's audience wants | to see the stage of the theater? And he finally saw can accept? At one time it brilliantly realized, say, Vakhtangov, as I have already download the film Diamonds for the Dictatorship of the Proletariat
and mentioned above.When we try the same means to resume the holiday today - it turns out that kakayanibud gopkompaniya with unkempt hair that pops up on the screen after midnight - more surprises. . However, this does not mean that you should immediately make a theater stage to the music of a tin abnormal sexual acts.Who knows what today is awash youth, and all of us at one time bathed in kakoynibud innovations such order. Also nothing new. I think the Russian theater in their samples had never descended to such a fuss. Theater as theater, whether it is higher than the spectacle. This does not mean that he is not a spectacle or a sight that can not be theater.Nevertheless, as far as he is above the spectacle, so he and the theater. And download the film Diamonds for the Dictatorship of the Proletariat
and again and again I think back to the wonderful Art Theatre of Stanislavsky, which were download the film Diamonds for the Dictatorship of the Proletariat
and banned applause where intimnodoveritelnom conversation with the audience in the theater came through such a jungle subconscious ...And I think that today it is very important not only to develop our methodological breadth search figurative expression, but also think about how to go deeper, to touch the strings are untouched. Until now, with all the publicity and democracy, there is in man coffers while untouched.And ihto just need to disclose, because, I repeat, in the history of the theater, only those performances that touched on these areas. Of course, the question is how to do it, what language to speak to the audience? It has become a textbook argument that in the 60 years of the "Contemporary" spoke an entirely different language than the MAT 40's.All of the modern search for artistic truth starts with "Contemporary". Then "Taganka", and then immediately generation Fokine Yanovskaya ... They forget that the Russian realist school is not only the Stanislavsky and NemirovichDanchenko but their students - Popov, Lobanov, even the wild that can not break this chain.For my generation, say, theater Ermolov Lobanov period is more important than the "Contemporary" for the next. Film Diamonds for the Dictatorship of the Proletariat
. Because the "Contemporary" yet started due to thaw 50 - 60's, when many things become possible, if only for a while. A Lobanov told us the truth during Zhdanov regulations. This is not fair, but nothing can be done:Theatre die with each generation. Artistic truth "Taganka" was valid at the time when the allusive language could tell the truth more than kakimlibo different. And the theater, as well as his great bard, spoke to the audience in the language of what the viewer thinking all the time and what he lived.Today, even with a delay, we revive for themselves Vysotsky.