Heap Золотая Лихорадка Аляска 3 сезон 1


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Fairy tales of the Viennese wood

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1 Apparently, to this point in the text is a pencil note Stanislavsky made on the fifth page of the manuscript contained herein complementary idea: " When Mochalova these decorations and furnishings meet the artistic taste of the public. "2 A number of notes and letters beginning 900s Stanislavsky repeatedly returned to the question of the relationship between the actor and the surrounding scenic environment. For example, in a notebook 18991902 gg. Stanislavsky wrote: "The stage and play and art exist in order to arouse in the spectator mood. All must strive to do so:and actor, and scenery, costumes, lighting, and effects. Therefore not logical statements that can destroy the scenery and so impressed. G. Let the wine falls on the actor who is so weak its inner content, which may give the impression of contrast with the greyish background and environment that surrounds it. "Next Stanislavsky returns to this theme: "If Motchalov not need sets and costumes, the Ugine should come to the director, the lower bow down and say," Help me, one I can not take the audience the whole evening and give it a complete illusion. "The same Stanislavsky and the thought expressed in a letter to Flerov dated May 24, 1900 .:"I first subscribe to the fact that the performances do not need a genius Salvini and bother about setting because it will cover all genius ... And when Ugine plays Othello, I ask question, should consider the overall impression of the play? .. I think so ... ". 3 Kronek Ludwig joined in 1866in the company of the Duke of Meiningen Court Theatre on the role comedian; from 1869 to 1891 was the director of the theater and the organizer of his tour in several European countries.Stanislavsky highly valued art rezhisserskopostanovochnoe Kroneka, his organizational talent, diligence in the development of the ensemble and crowd scenes, the ability to create and strict discipline and educate each participant a sense of responsibility for the success of the performance.Unlike those critics who saw in Meiningen Court Theatre productions only archaeological pedantry in the image era and excessive abundance istorikobytovyh details Stanislavsky appreciated skill meyningentsev directorial techniques to identify the spiritual essence of the work.Episode shown in this publication, in revised form used by Stanislavski in his book "My Life in Art". In the same Stanislavsky assessed both positive and negative aspects of creativity and directing meyningentsev Kroneka.Under this code name for the first time published a series of notes beginning 900s united us thematically. 1 Published by the unfinished manuscript, located among the materials entitled Stanislavski "Theatre". Of this material was later used in the manuscript Stanislavsky "Theatre.".The published text is selected from the other manuscripts based on Stanislavsky pencil marks in the margins "Transfer", "Move", as this fragment of stage convention has no direct connection with the rest of the material.