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Rehearsing Hamlet, he kept looking for his walk. "And suddenly opened:housing must be at a standstill - that dignity and aloofness Prince, and legs move very quickly. " Oleg Yefremov said Smoktunovsky "could go in search of external things. Sometimes the calls show kakuyunibud rehearse role and have nothing to say: this is not even just a folk tune, just antics, "pedaling" at all:the manner of speech, the accent, the manner of conduct. And that he was looking for.And exaggerated passed, remained acute external image 'assistant Oleg Efremov Tatiana Goryacheva remembers rehearsing little Judas, Smoktunovsky came to the theater in a knitted sweater stretched, worn shoes, old trousers with blisters on his knees with a ridiculous shopping bag in hand - whether homeless, either fallen widower.At the rehearsal, "Cabal of Hypocrites" artist, on the contrary, came dazzlingly smart, smart, fresh, elegant poosobomu. The transformation took place during rehearsals. "By entering the image," Smoktunovsky gradually obey his dictates.With it download the film Wilcze echa
and happened the artistic transformation, which is described artist Petr Semak, speaking about his relationship with the image of Nikolai download the film Wilcze echa
and Stavrogin in "Demons", "I felt that the egg is revealed, something out of it hatched. And this little bird came, and I began to realize that I myself changed, even the mindset has changed.Already you catch yourself that it is not, I think, and Stavrogin. Already, smoking girlfriend, postavroginski ... ". Inner being "king" required immaculately white shirt, shiny shoes, elegance of every gesture and movement. Judas made shuffling feet, shivering download the film Wilcze echa
and wrapped in an old sweater stretched. Twist in the hands of a ridiculous string bag ..When looking for an external expression of "truth inner life" Smoktunovsky literally download the film Wilcze echa
and walked through "before pedaling," through redundancy details and parts, which are gradually eliminated, leaving, and then he began to influence the image of the artist, painting over his behavior, mannerisms, body language, choice of costume.However, the search for the role of the external image, and the final outcome remained outside rehearsal notebooks. Theatrical myth is the story of how Smoktunovsky met in the crowd reading a man whose face told him Myshkin. Film Wilcze echa
. What meetings and experiences helped in other roles - difficult to judge.In rehearsal notebooks notes with directions of people whose appearance could tell the artist kakieto exterior details of manners and behavior of its cut, is extremely rare. The only hint and tips for researchers - a neat list of "prototypes" in the notebook "Ivanov":"Correspondent, sitting HA floor against the wall in Singapore Singer CONCERT the ballet school manner to move, talk, watch one of president of the company in New Zealand: A long, slow, or dignity." It is possible that there Smoktunovsky describes his impressions of kakihto real people.But it's much more likely that the images created by the imagination of the artist. Correspondent, sitting against a wall in Singapore; singer in concert at the Choreographic School, one of the presidents of the company in New Zealand ... All three are devoted to the description of people who are in very alien environment, stands out among the surrounding landscape.Do they searched artist dash appearance Ivanova - hard to say.