FILM D.O.A.: ЖИВЫМ ИЛИ МЕРТВЫМ D.O.A.: DEAD OR ALIVE
It is here that we can grasp the meaning of the relationship between theater and cinema.These two poles - the body everyday and ceremonial body - we discover or re-gain in experimental cinema. The latter is not necessarily going ahead, sometimes it moves over.The difference between the experimental and other cinema is the first experiment, and the second is, by virtue of a necessity, rather than the need to process photography. In the pilot movie sometimes the process sets the camera on everyday body;are famous experiments Warhol, six and a half hours of footage sleeper fixed plan, three quarters' about all these aspects of the film Ben Wed Analysis ZhanPolya Manganari: В«Lumiere du cinemaВ», no.9, novembre vertical hours shooting a man who eats a mushroom Sometimes, on the contrary, this film raises some bodily ceremony takes initiation and liturgical form, and tries to display all the solid and the fluid state of the download the film D.O.A.: Живым или мертвым D.O.A.: Dead or Alive
and sacred body, up to the horror and disgust, as it was trying to Vienna School, the Brus, Nitsch and Myulya But cansay the opposite poles in all other cases except extreme, certainly not the most successful? In the most successful cases, the daily body more prepared for the ceremony, which may never come, and, perhaps, is precisely in anticipation:is a long preparation download the film D.O.A.: Живым или мертвым D.O.A.: Dead or Alive
and married couple in "Love Mechanics" Maas and Moore or as long preparation prostitute in the film Morrissey and Warhol's "Flesh."Converting marginal characters in his films, underground used money everyday, expires in preparation for the ceremony, stereotyped, whether drug use, prostitution, or parody.This gradual and humdrum spectacle involves the showing of his body posture and habits, as in "the flesh," one of the finest of the kind, which showcased the waiting body, the body is tired and the actual time of discharge, which is download the film D.O.A.: Живым или мертвым D.O.A.: Dead or Alive
and expressed in a game of three bodies main characters - men, women and child.In the account is not so much difference between the poles as the transition from one to the other, from the imperceptible transition poses or habits to "gestusu." The term "gestus" Brecht created, making it the essence of theater, irreducible to the intrigue or plot:In his opinion, gestus must be social, although he acknowledged that there are other kinds of it What we generally call gestusom is a connection between the poses or their assembly, their mutual coordination - but precisely to the extent that it is independent of kakoylibo predza1 Dominique Nogez emphasizes real-time and faultnarrative in: В«Le cinema en Van 2000". В«Revue d'esthetiqueВ», Privat, p. 2 About the ceremonial pole experimental films Wed: In one e g e 11 on Paolo, В«L'eidetique et le ceremonialВ», id., P. 59 - 3 Brech t, вЂ‹вЂ‹В«Musiqueet gestusВ», В«Ecrits sur le theatreВ», Ake.
Tolan Bart gave an excellent commentary on the text:plot "Mother Courage" may be the Thirty Years War, or even exposing the war itself, but "gestus it's not the", "and in the glare of the brand Beriev, which believes that the war which actually kills her, helps her to live"; it is "critical show gesture" or "coordinating gestures."Brecht wrote that it was not the ceremony, but rather a ceremonial display of "self Mykh that neither is commonplaces, vulgar and banal" poses.