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Fairy tales of the Viennese wood

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However, this setting differently embodied Brook PA first and second stages of his work.In 1945, Sir Barry Jackson, displayed extraordinary courage, offered ^ twenty years Peter Brook put in Birmingham Repertory Theatre Show most difficult play "Man and Superman", he introduced him to almost as young - only three years older - actor Paul Scofield.Since then they have worked together for a quarter century. Scofield played in eleven plays and two films set Brook. Last time they met on the 'scene in 1U62 year, and in the film - in 1971, this cooperation means a lot to Brooke.Good fortune brought him from the very beginning with the actor, connecting the mind and emotions, inner identity and the ability to feel the intent of the director, Scofield said about Brooke that it affects him incredible openness to outside influences, and at the same time - full interior certainty. Something like this and Brooke saw Scofield.Truly, these two people found each other. And yet the past and ten years Brooke is trying to develop in their actors other techniques, unlike skofildovskuyu. Scofield - actor coming from the equipment to the experience. Now Brooke teaches actors go from experience to technology.However, he varies his approach, going back in time to the reliance on technology, though unusual - for example, on the technique .yaponskogo Noh theater or circus. Initial here - Stanislavsky.In kakihto parts of his teachings directly perceived in kakihto - by Vakhtangov himself, perhaps brightest of directors calling for the revival of theatrical theater. Brooke is no doubt that the Stanislavsky system is the "grammar" of acting.Hence his dislike of the French declamatory school, so clearly expressed in the "empty space". But at the same time he wants to use this system in a theater, transmitting life is not in the forms of life itself. "Grammar" Stanislavsky he tries to, in the words Marovits, and provide different syntax.He aims to and raise the deeper layers of the cast of the subconscious, and to express the fullness of human experience through the internal rhythm of the actor, stressful enough to make explicit, even without words."Artodnanskal" workshop, ceased to exist in 1964, then again revived. Not too pertinent name "theater of cruelty" was dropped, the experiments continued. In 1968, Brooke organized in Paris, an international theater group, in 1971, on its basis arose International Centre for Theatre Research.Watch the film igrі in excellent quality online. There has been continued chain of experiments initiated unsuccessful teams performance in January 1964. Scale them, however, has increased remarkably. Now it was not only about looking for a new acting technique, but also the connection of various theatrical cultures.In this way now looking for Brook House swap commensurate with life. "Our today's theater is often narrow and provincial;he class is limited, and its form and content are such that do not allow it to penetrate the rich and controversial human experience - wrote Brook January 20, 1974 in the newspaper "New York City Times", setting out its views on the development of Western theater.




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