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Fairy tales of the Viennese wood
Movie Night woman Change disgraced himself Benoit donate at statement Pushkin "all and even taste." Benoit that he understands by "everyone" is quite true discloses Lerner .. This category includes "and lightness, and the music and improvisational brilliance, and shamefaced sense of proportion."To move closer to the problem of distortion of Pushkin's "superabundance of materiality, naturalistic weighting", refer to Ben, "I promised last time to explain why it is in the scenery" Pir "I walked away from that simplicity, I set myself the task. Instead of explaining - I do. This is - a mistake.And I was in the beginning, Wilson seized more than Pushkin. I wanted to express in one picture horror devastating disasters nagryanuvshaya for rich, vibrant city. Hence, in most buildings, "so much realness," as many tracks just stopped suddenly pritushennoy street life.So also in the accessories wanted to give as much as possible "old England", and ringing of glasses and glasses traces undoubtedly delicious and fun feasting.All this and has brought in too dense jungle realism vseeto and forced to make a mistake against the "taste" in the understanding of Pushkin, once uttered this thought - that "the true taste is a sense of proportionality and in conformity." Yes, and we Saw "Feast during the Plague", along with Benoit sank "in the dense jungle of realism."But why, when it comes to "The Stone Guest", we are invited to consider black white and white black? After all, in "The Stone Guest" we, along with Benoit, sank "in dense thickets of realism." As Benoit wants, but we do not see no difference whatever between those two ways of performances, in which the distinction he wants to convince us.I think Benoit knocked kemto confusing: some one he said, "The Stone Guest" "in the public and in the press as a success." When Benoit proceeded to exposure productions, he understood perfectly: "The Stone Guest" despite his opera, no calls for a different attitude than the "Feast" and "Mozart".In the formulation of the three dramas except that the difference was that in the "Symposium" many "real" a lot "traces the life of ..." in the building from the outside, and in "The Stone Guest" not only in the buildings outside, but also buildings inside.In the "Symposium" Benoit "wanted to give as much" old England "," ding glasses and glasses, "and in" The Stone Guest "tinkling chains, snap locks, pereklikaniem night watchmen he wanted to give as much as possible of old Spain. In "Mozart" such as details of everyday life, useless, as in the "Symposium".In vain Benoit thinks only in "Feast" it "all this has brought in too dense thicket of realism." And the "Feast" and "The Stone Guest" and "Mozart and Salieri", all these performances are equally sinned against "taste" - of course, within the meaning of Pushkin, once uttered this thought:"True taste is a sense of proportion and in conformity" - and not in the sense of Benoit, who believes that "in fact, the truth is always hidden in the authentic taste." 3 "True taste is a sense of proportionality and in conformity." Benoit Why not read this before setting?