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I then asked to go to the scene of another volunteer and handed him a monologue from "Henry VВ», in which the names of those download the film The right to Sado Maso
and killed are called French and English n say how many were killed both.He read aloud a monologue with all the errors that usually do lovers. One kind of small volumes of Shakespeare was enough to wake up a set of conditional reflexes associated with poetry readings. His voice sounded unnatural, because he did his best to make his speech with a noble and significant;he carefully presented with each word, put pointless stress, language hardly obeyed him, he held tense and download the film The right to Sado Maso
and uncertain, and he was listened to attentively and anxiously. When he download the film The right to Sado Maso
and finished, I asked the audience why the list of those killed at Agincourt made them much less impressive than the description of the victims at Auschwitz.A lively discussion. - Agincourt - is the past. - But Auschwitz - also past. - Fifteen-year-old! - How much time should pass? - When a corpse is a corpse history? -How many years killing takes glamor? We talked for a few minutes, and I offered to such an experience.I asked the same actor - amateur read monologue again with pauses after each name;during breaks, students were observing the silence, to remember and to combine their experience of Auschwitz and Agincourt, and try to believe that all these names once belonged to living people, to believe enough to imagine the carnage of Agincourt took place in their memory.The actor began to read the monologue again, and the audience tried to faithfully carry out the assigned them a job. After the first name of the relative silence was tense.This voltage is passed on to the actor, he felt that he and the audience an emotional connection, he stopped thinking about himself, his attention was focused on what he was saying. Now the focus listeners actively helped himsimplified his tone, he found the right rhythm, which in turn increased the interest of the audience, and finally there was two-way flow of thoughts n feelings. When he finished, I do not need to be told, students have understood what they have done, they download the film The right to Sado Maso
and realized how different can be silence.Of course, this experience, as all the other experiments, it was rather artificial: the audience plays an increasingly active role than usual, and thus helped the inexperienced actor. Typically, an experienced actor, reading a passage, he tries to get the audience the extent of attention, which corresponds to the degree of veracity of its execution.Sometimes an actor can not fully capture the audience, and then he, like matadorvirtuoz can do with the audience all he wants.
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Usually, however, it not only depends on him alone. And I have seen and artists, for example, that in America "Visit" 8 or "Marat / Sade" are more responsiveness than in England.The British were not able to perceive the "World" as something significant, like the story of the forces of evil latent in every small human community, and when we played in the remote corners of England with an empty-literally empty - the hall, the few who came to the theater , said, "Fudge," "It does not happen!";they praised or criticized the play as praise or criticize a story.