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Fairy tales of the Viennese wood
LOOK ONLINE In our performance as if the text was divided into two parts:one - around the stage, the other - druguzalu. These two realities existing simultaneously, creating special effects comic and dramatic contrasts.Life itself Chatsky, his love, his fate depended on all the same to those who are on the scene of Famusov, Sophia, Molchalin, and his way of thinking, the spirit was wider, tried to those who see the story from the audience. And then the final rhetorical question: "What am I waiting for? I thought to find here?"- Directly addressed the audience to be answered, creating a real sense of anxiety, a real stage, rather than literary drama. Tovstonogov in that first conversation told me at the beginning and end of the role, as they seem to him. Chatsky has long run to Sofia, opening a lot of doors. Do not just go to her and get to visualize it.In the finals, the luxurious scenery with sweeping staircases, columns and a large balcony, Chatsky in a ball dress coat would be embarrassed to sit right on the steps of the ladder download the film Ru-Ba-Ru and called softly, almost sluggish start, "Do not obrazumlyus ... guilty, and I listen, I do not understand ... "Yes, it was tempting.Now, calling it the construction area, I can say that Tovstonogov created a magnificent area in "Woe from Wit" by fascinating actors and spectators.I think that the very purpose of my role was one of Chatsky support moments of design, Tovstonogov download the film Ru-Ba-Ru and needed scrapping the familiar, in sharp contrast, he wanted to break from the viewer's eye Tenderness veil habitual attitude to the classics. Georgy did not teach me new things. He loaded me into it, and demanded return.And this role was the school for me, a turning point in his creative life. In 1970, we were looking hard approach to implementation is too well-known and somewhat outdated pieces Rakhmanov "troublesome old age." We, the actors, along with orphans groped psychological and plastic way.Tovstonogov walked towards us, defining the scope, trying to become familiar break "right." Maintain comfort, which is incorporated in the play, but visually and spiritually overcome her apartment limitations. Beyond the walls of the apartment is Professor Polezhayev World War. Then the revolution and civil war. Break in the world.This is indicated in the play, but how to make itself sound stage space with anxiety and excitement of those days? How to make words, familiar from the film "Baltic Deputy", repeated many times on the stages n converts to dozens of other similar pieces, sounded cool?
LOOK ONLINE Tovstonogov decided to enter into a spectacle of nature - three street scenes.But it was too frontal stroke. I think he gave nothing in itself. But spawned another - that was the most important discovery BDT in this performance. Street scenes required to make a light pavilion that can quickly disappear from the scene and re-appear.Therefore, there are no walls, no ceiling - only a minimum of furniture and doors, large doors of St. Petersburg, which could quietly slide in performance space.