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Fairy tales of the Viennese wood

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This is one remark. The second remark. We used to do so - especially in this sinful Little Theatre, he said - I understand what constructivism, it is not to be at the top of the ceiling? and that it was possible, using a rotating stage, did not show a whole and separate parts:the room is part of the room, the corridor, the area. It's at the Moscow Art Theatre, we notice in the "bread".But when they show a part, you can see that taking a naturalistic begins to dominate, so that there is not design and decoration of the ordinary, just take a constructive reception, reception constructivist school, and somehow attached here in the sense that it's a piece of the room, that's Cabin, t. e., - all too naturalistic order.So, strictly speaking, an incredible eclecticism. 252 ... Subsequently, drama, of course, in the construction of the play goes from episodic to a holistic action when it extends from half past seven to ten without a single break. In drama we know such cases.In "Oedipus Rex" by Sophocles, we can not and make no intermission.Then, a recent study of Pushkin's "Boris Godunov", published in the Far East, specifically says that Pushkin wrote the play with the expectation that there was no intermission, because everything is so cunningly woven that if anything should reznut, the public will lose the thread. Anyway, as a prelude Scriabin from the last opus.There legato line stretches from the first page, and the end of the arc legativnoy - on the second page already to the very end. This means that the form punch chord should be given so that the length - whether by pedal or by another focus, - to keep its sound to such an extent as to bring it up to the last line legativnoy.This does not mean that within a holistic action will not be crushing, but it's quite another crushing. The transfer of the action, provided that the action holistically - one combination, and episodes - another, for this division into small one-act number.There is somewhat mechanical transition, as we now say, from one act to another. I do not want to say that this thing is built mechanistic, but I want to emphasize that some of our imperfect stage technology suggests some imperfection of building performance.And since we are in the era of the imperfect stage technology, the extent of our new plans this circumstance tends, and it must be taken into account. Now we often, of course, porugivat Symbolists for all sin.

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That's right.We porugivat not through technology but through ideological, because the school Symbolists, of course, has been tightly linked to the ideology alien to us, and if it is to shake out and see some tricks symbolist school, we see that many of the techniques of the symbolist school fully approved by the proletariat .For example, a picture kakayanibud Eisenstein film, his last work. We see that he often operates symbols. Or "Earth" Dovzhenko. Apples out there play the role of symbolic characters.




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