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Fairy tales of the Viennese wood

film Alzheimer's disease

In this case, the reception alienation forces to remain alert, while most of us are ready to fully and surrender to the the power of the senses.It is very difficult, however, to interrupt the usual reaction of the audience, at the end of the first act of "Lear" when blinding of Gloucester, we have included in the room light before has been made, this wild action, in order to make the audience and realize what he saw, before it starts automatically applaud.In Paris, in the "viceroy" again we did everything that the pashas authorities to freeze the applause as the approval of acting talent seemed out of place in a document of a concentration camp.Nevertheless, both of them, and the unfortunate Gloucester, and the most disgusting of the characters, the doctor of Auschwitz, always leaving the scene under almost identical round of applause.Jean Genet can write highly expressive language, but a wonderful feeling of his plays are often achieved by using methods of visible when from a most unexpected way combines elements of a serious, handsome, funny and grotesque.In the modern theater, there are only a few scenes, which, by their stunning effect can be compared with the culmination of the first part of "Curtain" when the stage action - hastily applied images of war on the white plane;and at the same scathing expression, ridiculous people and huge mannequins -all have to create an unforgettable image of colonialism and revolution. In this case the force is inseparable from the idea of ​​a number of multi-step methods, which it is implemented. "Black" Wife reach rich sound when between the audience and the actors set tense relationship.In Paris, when the play was attended by intellectuals, the play seemed fun in the spirit of the literary Baroque; in London, where the public was not the case either to French literature, nor to the blacks, the play loses its meaning; in New York in a magnificent setting Gina Frepkela it was electrified and tense.I was told that the voltage varied from evening to evening, depending on the ratio in the room white and black. "Marat / Sade" could not appear to Brecht. It was conceived by Peter Weiss at different levels of alienation:events of the French Revolution can not be taken literally, as they depict crazy, and their actions, in turn, raise doubts as directed by the Marquis de Sade.In addition, the events in 1780 are perceived in terms of 1808 and 1966, that is, the people sitting in the hall, as if the audience are the beginning of the XIX century, and at the same time they themselves - of the XX century. All of these plans are crossed concentrated perception at any given moment, causing the activity of any of the spectators.

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At the end of the play madhouse falls into a frenzy: all the actors improvise with extraordinary dedication and for a moment everything that happens pas scene becomes naturalistic and unrestrained.We feel that there is no force that would be able to stop this rampant, we come to the conclusion that it would not end the madness of mankind. And it is at this moment on the stage of the Royal Shakespeare Company emerged assistant director, whistled the whistle, and immediately stopped the madness.