Sports Anti-Utopia Documentary Accident Horror Adventures Comedy Erotica Scientifically popular History Performance Parody Fairy tales Eastern Tragicomedy Karate Military Tragedy Animation Action Mysticism Biography Cyberpunk Drama Western Family, children's Crime Musical Fantasy Black comedy Extreme Suspense Melodrama Thriller Detective Fantastic
Fairy tales of the Viennese wood
Film Fix With this method actor is exempt from the need to carefully monitor their movements, he finds freedom in the roles and lives in the proposed circumstances authentic life. However, the method does not exclude the transformation and the need to provide.Pudovkin drew attention to the difficulty in applying the Stanislavsky system to the roles of so-called negative plan: "When an actor comes on stage, nothing of what is in it, is not destroyed. If he is a good man and plays the villain, he is a good man and playing the villain.Therefore, the construction of the image it should not go through the mechanical properties show extrinsic him, and by overcoming inherent Conversations about Romm, 1964, p. his properties "But overcoming kindness does not give reason to feel scoundrel.The very "overcoming" kakihto feelings does not support when working on a way to kakieto real feelings, and actor somehow have to appeal to the imagination and representation. So, while working on the fantastic images actor can not "remember" feeling BabyYagi, Immortal, devil, devil, witch, etc.Only the power of imagination on the basis of their real feelings, he imagines one of the variants of such roles. Something similar happens when you create a historical images, such as Spartacus, Gaius Gracchus, etc. Transformation is not always complete.Soviet director "and film theorist Macheret distinguishes between two types of transformation - inner and outer Cherkasov created images of different characters Polezhaeva Jacques Paganel, Kolka Lo-| Alexander Nevsky, Ivan the Terrible, Professor Don Quixote. Gabin A does not change in appearance in all his roles, although creating multiple images.To resolve this paradox, it is necessary to distinguish between the concepts: the nature and specificity. Character - a set of mental characteristics of man, manifested in his actions and deeds. Specificity - it is a feature appearance, manners, which left its mark character.Stanislavski in his work analyzing the internal specificity which, by its definition, is a combine of their own feelings and thoughts internal appearance of the actor role. External specificity "comes by itself when feels doeth truth, believe her."'C Soviet director and theoretician of the theater Christi specificity distinguishes innate, age, ethnic, professional, and finally individual character roles requires overcoming a character actor, in his usual life."It often happens - Stanislavski writes - that the actor finds the person he portrayed on the play three, four specific movements and actions typical for the role. To manage them throughout the play, requiring very large thrift in the movements.