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Fairy tales of the Viennese wood

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Desdemona on the surrounding environment, grandiose and poetic, saw its support fighter, a husband forces; on the "whim" in love not kogolibo of beautiful men in Venice, and in the Moor Othello. I do not want to and carry out the paradoxical parallels between Desdemona and Sofeyu Pavlovna.They are as far apart as the tragic and the comic, but belong to the same type. Sofia Pavlovna seen enough around him to too many abominations, accustomed to the boorish concepts sucked in myself with the milk.She does not see himself wildly moral support in a practical man, able to rotate in this environment and being able to deftly and master over time etoyu environment. Chatsky alien to her and she constantly seems crazy, while Othello to Desdemona is not a stranger - just the Moor, and it is the same as many valiant Venetians.Sophia Molchalin unknown with his nefarious parties for his nizkopoklonnichestvo, humility, patience and precision she says - she Famusov daughter and granddaughter of the famous Maxim Petrovich, who could so deftly knocked by neck - she thinks I do not speak in jest, the same virtues as Venetian Desdemona - high integrity and valor of the Moor.Then also because Molchalin clever mind of its scope. Sneaky mind it, though, so she does not understand what a despicable.That's when she realized his meanness, experienced in relation to itself all the precariousness of what she thought elect their moral support, all of disadvantage for yourself this ugoditelnosti all, even "dog janitor, was so gracious," - heard in relation to itself holuyskotsinicheskoe expression:"Let's share the love of our sad stole" - she wakes up ... and truly tragic beauty is sometimes good faith Samoilov per minute of this awakening. "Only when the director to build the final scene as a tragic scene, only then will we understand why throughout the play Chatsky sought to have tapped into the brain and the heart of Sophia, because he knew that Sophia had good inclinations, but within three years dirt society it 167 so flooded that he did not recognize her, he mustall the time to deal not just with Sophia and with the Sophia, which he knew three years ago. It is this line a must identify Chatsky in the scene shooting range. He must always have before him a vision of Sophia, whom he had known when they "play and make noise on chairs and tables."In this scene, the shooting range - Romeo and Juliet, despite the fact that there is a kind of inverted scene Romeo and Juliet, like Romeo and eksSofya.In front of us like a good pair, you see that they could be the ideological coherence and suddenly - the gap because Sophia is already infected, and at least in appearance, it is still the same, but there kakayato crack, which does not allow them and merge.

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Chatsky sees a Sophia - vision, as in Shakespeare, remember. Hamlet walks in the footsteps of Ophelia, as he tries to pass her in the transcript. There are also about getting such an atmosphere, the atmosphere of disorder, but there is another level, not in the way here, of course.In the sense in which we deploy stage action comedy Griboyedov, we first of all deprived Chatsky rhetoric, there is the impression that this man every comer lecturing; because we each performance Chatsky replica prefaced with such accentuation that he can not and talk.




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