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Fairy tales of the Viennese wood
LOOK ONLINE He liked about her is that, first, it only hints about everything, second, that the scene was in front, all that can be called to our scenes, the audience posed action in the immediate vicinity;and figures of the actors who were on the stage, not for a moment lost sight of the audience, as the figures in the circus arena.The question of how to put art and human figures in different plans, obviously, is the famous hard arhitektoraklassika Schinkel, as he offers samples of a new stage, which coincide with Wagner's dream to see the "landscape painting," as far back burner, just , as in the ancient Greek theater Hellenic landscapewas a distant background. "Nature was for the Greeks only a framework for the individual - and the gods, personified by the Greek view, the forces of nature were but human gods. Every phenomenon of nature Greek sought to put into human form, and nature had for him an endless appeal only in the form of a man ..."" Landscape painting should be the soul of architecture, it will teach us to make a scene for the drama of the future in which she will present herself living beyond nature to the living, and not copied person. ""The fact that the sculptor and historical painter tried to create in stone and on canvas, the actor will now itself, on its shape, the members of his body, on otpechatleet features of your face for a conscious artistic life. The same motives which led the sculptor, transmitted form person, now run by an actor - his facial expressions.Eye, helping the historic paintings are the best, attractive and characteristic in the figure, colors, clothes and rasplanirovke groups regulates rasplanirovku now living people. "From what Wagner expressed about the place of art on stage - on the forefront in the hands of the architect, the artist, which he calls the theater not only for one painting, but also for directing;from the fact that in other places Wagner writes Stimmung in all that relates to light, lines, colors, the urgent need to see well minting movements and gestures of the actor, his facial expressions, of the acoustic conditions favorable to the recitation of the actor, it is clear from all of this, Bayreuth scene that could not satisfy such requirements Wagner, forit is not completely sever ties with the traditions of the Renaissance stage, and most importantly, directors, staged Wagner, did not consider it necessary to take into account the basic view of the scene as a reformer on a pedestal for the sculpture.III to fulfill the dream Teak Immerman, Schinkel, Wagner - the dream of revival of ancient and characteristic features of Old English scene - took over Georg Fuchs in Munich. Feature of this scene is that the foreground is calculated only on the relief. By means pratikabli reliefs in the broad sense;hence it is not only the parts of painting, written separately from the "Avenue", which are exceptionally beautiful goals - to enhance the effect of perspective or enhance light on the avenue;The term "relief" is called here, and not in the narrow sense, which gave him the Moscow Art Theatre, where "relief" called molded parts, adding to a written scenery to enhance this illusion.