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Fairy tales of the Viennese wood

film Dogvil

LUBOV. Yes, the kingdom of heaven. I wrote. " A sketch of the techniques of the characters? Gorky was once indignant Trofimov:he saw in him only dryannenkogo student, red spoke of the need to work and sit back, out of boredom mocks Varya, "working tirelessly for the welfare bums." Of Chekhov's correspondence we learn that the author wanted to portray Trofimov revolutionary, now and then exiled, expelled from universities.More striking duality Lopakhin: The author believed that the role of "central", warned that Lopakhin did not play as usual merchant. How, then, should and read the scene with a monologue: "I bought ... The Cherry Orchard is now mine!"? If this is not courage, "the usual merchant," then what is it?Kugel only spread his hands, reading the play before the start of rehearsals: it is, in his view, it was simply impossible to put. Dork, parvenu and then - "thin fingers artist", "artistic nature" strange, since childhood, surviving in love with Ranevskaya, was once defended a boy from a beating ...The juxtaposition of Chekhov and Brecht, if absolute, conceals the uniqueness of both writers, disguises the fact that they gave two answers to the same question, proposed by the logic of development of the theater.Evreinov, which, as we remember, speak maliciously on the "naturalistic" "Three Sisters," from the height of his ideas "theatrical theater" just would not accept "Mother Courage": political sense monotonous performance he interprets as the shackles imposed on the element theatricality."Playing the game" for the sake of the game, and with the moral moral admonition would have been in his eyes an evil caricature of "just a game". Extremes "Brechtian" and "Chekhov's" theatrical manners are based on a general basis - they cross out the old, traditional notions of theatrical illusion.In the era of photography that began cinema, the first technical experiments on remote viewing scenic naturalness lost former harmonic balance. Roblast, area illusory likelihood looked already insufficient, it shall enter into a dispute with Soblastyu, the area of ​​semantic constructs.The dictates of the latter on the new theater scene can be possible to mask, hide, "madness" for transitions sverhdostovernymi, sverhillyuzornymi, stereoscopic detail. And it was possible, on the other hand, openly sacrifice illusion, revealing how in modern architecture, structural engineering and functional elements of the play."Epic" theater of Brecht and "narrative", "prosaic" Chekhov Theatre of the period when they are declared "neteatrom" gradually grew into the norms of modern theatrical spectacle.

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The coexistence of the repertoire of the same creative teams helps to look at the similarity of hiding behind a superficial antagonism.And there are not only the director's dream to put "The Seagull" in the "manner" of Brecht, but in "The Caucasian Chalk Circle" Chekhovian techniques to find ...Border, which may extend to materialnoempiricheskoe reinterpretation of Chekhov's text is very well felt MihalkovKonchalovsky, celebrated in one of the articles that stage Chekhov's characters, even in their speeches differ from the characters of his short stories and novels.