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Consider, first, the "Hamlet" by Shakespeare. If the actors tell me that they want to play Hamlet, I will not give it to them, but to work these roles on a physical line ladies.The Studio and grow as artists, and as psychologists if they understand Hamlet and sort it. 145 If we decided to "Hamlet," this does not mean that we take the whole play, no, but only the main stages, which runs through-action role of Hamlet. Meeting with Horatio, the Shadow, with Ophelia, with Rosencrantz, with Polonius, alleged murder of the king.I really want - he download the film Violenza in un carcere femminile
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and changed my mind since then, as Craig in our theater staged "Hamlet." How much do we then wisely and in fact it is simple. Take as "Romeo", do not be afraid of what the play is played a lot.Romeo to play or mature master or twenty years, when everything is fresh for emotional memories. Take in these studies of people who want to become masters, and not stop at the difficulties of the process of work. Vyakhirev was suggested 'Hamlet', and I - "Romeo and Juliet."This meeting with Stanislavski us also remember that we have with him a long conversation about the basics of working on the show for the new method. It started with our own, may not be very relevant questions: where to start, what to seek from the actors.But Stanislavski understood our situation, our desire, starting to work independently, to clarify those previously studied, to learn something new that appeared in the method in the most recent times. He managed to direct the conversation so that the questions that we have the strength, we meet ourselves. - And how do you feel?- In turn, asked Stanislavsky. - Here you are the director, - he said to me - you have a play. What should you do first? - I would divide it into pieces. - What - large or small? - First, the big, then into small ones. - So good. Why do we break the play into large pieces? - To schedule-through.- Right, - said Konstantin Stanislavski. - But you first need to find the most important task of the play, at least approximately. When you define the most important task, divide the play into scenes, facts.The initial phase of the director's work with actors is to give a number of studies, kotoryesootvetstvovali episodes would play, and work them through physical actions.
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Now tell me - asked Stanislavsky to us - what the artist held the role for physical action.- The physical action - we began to respond excitedly, - affordable than subtle inner sense, it is more convenient to fix, it is the material, apparently. Physical activity has a close relationship with all other elements: for physical action can not be without desires and goals, no 146 internal justify their feelings.Physical action in his live incarnation on stage makes the artist to create on its own motion all sorts of inventions of the imagination, given circumstances, "if." Sense of righteousness, faith, logic and consistency to develop physical activities.- That's right - confirmed Stanislavsky and continued, - a new feature of my technique is that it helps to extract the soul of the creator chelovekaartista of his emotional memories of his desires, and other internal elements of its own, vibrant, inner material, similar to the role.- Stanislavski - decided to ask him myself.