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Fairy tales of the Viennese wood
film scandalous incident in Brikmille In the first case, the discrepancy between the rhythm dictated by the orchestra, and the rhythm of gestures and movements almost imperceptible; disorder them only that the motion is not rendered meaningful and strong expressiveness, as required by Wagner, for example. But in the second case, the disorder is unbearablefirst, because the music becomes a reality zhestaavtomata disharmony, gestures of everyday life, and the orchestra, as in bad pantomimes, turns into an accompanist playing ritornello, the refrain; secondly, because there is an audience fatal duality: the better the game, the more naive than the very essence of opera;Indeed, the mere fact that people behave on the stage of life as caused by suddenly begin to sing, - of course, it seems absurd. Tolstoy bewilderment at the sight of people singing is simple: singing operatic roles, followed by the actual execution of the role will inevitably cause in a sensitive viewer smile.At the heart of opera is conditional - people sing; can not therefore be introduced into the game an element of naturalness, for a convention, immediately becoming a disharmony with the real, reveals its alleged inconsistency, ie falls basis of art.Musical drama should be performed so that a single second slushatelyazritelya no question why this drama actors sing, but do not say. A model of such an interpretation of roles when slushatelyazritelya is not the question, "why the actor sings and speaks" - can serve as creative Chaliapin.He managed to hold, as it were on the crest of the roof with two slopes, without falling or bias towards naturalism or to the side slope of the operatic conventions, which came to us from Italy of the XVI century, when the singer was important to show to perfection the art of producing roulades when lacking any connection between the libretto and music.The game Chaliapin always true, but not vital, and theater. She always raised above life - a painted this a few true art. Benoit in "The Book of the New Theater" is a "character can die, but in this calamity is important to feel the sweet smile of the deity."That smile is felt in some interchanges of Shakespeare's tragedies, Ibsen at the time of death Solynesa Hilda hears "the harp in the air," Isolde "melts in breathing boundless worlds." This same "sweet smile deity" is felt in the death of Boris Chaliapin. And there is only one moment of destruction illuminated Chaliapin "smile deity"?Suffice it to recall the scene in the cathedral, where Mephistopheles - Chaliapin is not a triumphant spirit of evil, but pastoromoblichitelem, as if grieving confessor Margarita - the voice of conscience. Thus, unworthy, ugly, poor through Chaliapin transformation are the subject of aesthetic pleasure.Further, Chaliapin - one of the few artists of opera, which is exactly following the instructions musical composer graphics, gives its movement pattern.
film scandalous incident in Brikmille And this plastic figure always harmoniously fused with tonic pattern score.As an illustrative example, the synthesis of plastic rhythms and rhythmic music can serve as an interpretation of the Sabbath on the Brocken Chaliapin, where not only the rhythmic movements and gestures of Mephistopheles - the leader of the dance, but even in the tense stillness frenzy slushatelzritel guesses rhythm dictated orchestral movement.