Sex, bullshit, that scene: the current theater of the victor's video is coming. The stage is the only real place in the theater
Entry
Today's stage language to its vindication goiters is no less than the process of renewal, which was experienced in dramaturgy and actor's art at the turn of the century, and the reform of the stage space, as the directing immediately created.
In fact, the very understanding of the stage space, as one of the structural foundations of the vistavi, viniclo in the process of aesthetic revolution, rozpochaty naturalists in the prose at the theater. Even in the mainstream of the 70s of the last century, they wrote decorations, diligently reviewed and brought to the sights of buildings, as small as the historical science, which protected the new archeologists’ opinions, was no less than a gloom. Functions of the organization - such chi іnshoy - the expanse of the stage did not win the historically authentic scenery of the Meiningen shows. And yet, at the Antoine Vilny Theater, like in German and English directors-naturalists, the scenery took on a fundamentally new recognition. Vaughn ceased to play the passive function of the front background, in front of which the actor's role develops. The scenery took on a greater mission, claimed to become not a background, but a place of business, that particular place, de life, shoplen with food, something like a laundry room, a tavern, a small shop, but a butcher's shop. The objects on the stage, the furniture of Antoine are right (not props), modern, not museum, like in the mainingents.
At folding and warm struggles of various artistic directions at the theatrical art of the XIX-XX century. the scenic space was interpreted in a new way, and all the same it was invariably accepted as strong, and at times even a virishal gain of variety.
Organization of stage space
For the creation of a theatrical production, you need a song of mind, a song of space, for which actors and spectators will grow up. At the skin theatre, at a specially appointed booth, on the square, where dead corpses appear, at the circus, on the stage - everywhere there are open spaces for spectators and the stage. In addition, as spіvvіdnosjatsya tі two expanses, with some rank, their form and other are appointed, to lay down the character of interrelation between the actor and the spectator, wash the sprinyattya vistavi. Tsei podіl є vіdpravnym at the scenographic solution vistavi. Types of mutually actor and viewing parts of the theatrical space historically changed (“Shakespearean theatre”, stage-box, stage-arena, square theatre, simultaneous stage, etc.), and the performance has its own clues to the spacious task of theatrical creation. Here you can see three things: the whole architecture underlay the theatrical space on the visual and stage parts, otherwise, apparently, the geographic underlay; rozpodіl theatrical expanse on the actor's and gazing mass, and therefore, and vzaєmodіyu (one actor and hall, like a spectator, a massive stage and a hall for peeping eyes); i, nareshti, komunіkatsiyny podіl author (actor) i addressee (peer) vzaєmodії. Everything must be understood by the understanding of scenography - "organization of a wild theatrical expanse of vistavi". Without a doubt, the term "scenography" is often used as in mystical literature, and in theater practice. This term means i decorative art(otherwise, one of the stages of yoga development, which is about the end of the XXI century - the beginning of the XX century), and science, which develops a vast solution to the vistavi, and, nareshti, the term set designer means such professions in the theater, like a stage designer, stage designer. All the meanings of the term are correct, but only the leaves, the stinks of the stench christen one of the sides of this light. The scenography is the entire collection of the spacious solution of the vistavi, all those that will be at theatrical creativity behind the laws of visual reflection.
The concept of “organization of the stage space” is one of the lines of the theory of scenography, and it combines the blue of the real, physically predetermined, and surreal, molded by the usual course, the development of a performance, stage performance. The real stage space is determined by the nature of the interplay between the stage and the hall for spectators and the geographical features of the stage, її expansion, technical equipment. The real stage space can be apertured by curtains, hedges, change in depth by “curtains”, so that it changes in the physical sense. The irreal stage space of the vistavi changes for the light, mutually space (light, color, graphics). Being left behind physically immutable, it changes at once in the artist’s soul stalely, which is depicted as if the scene is filled with details that organize the space. “The stage space is filled with high density,” Y. Lotman respects, “everything that is put on the stage tends to become more adjunctive to the non-meaningful function of speech sensations. Rukh becomes a gesture, rich - a detail that carries meaning. Considering the expansion, the volume of space in the yogo artistic inspiration is the moment of organizing the stage space, we will come to the development of this space in a singing direction. You can see a few types of such a layout: closed space (as a rule, the main pavilion of the bud scenery, which depicts the interior), perspective and horizontal (for example, images for the help of writings "hang" away), simultaneous or discrete (showing one hour a with our own set space) and straight uphill (like in the performance of "Hamlet" by G. Craig)
The stage space is essentially a tool for the actor's makeup, and the actor, as a dynamic masa of the stage space, is an accentuating cob in the compositional mood of the scenography of the performance. vono vіdbivaє as vzaєmodіya actor's ensemble at the expanse of the stage, and yogo dynamic spіvvіdshannya pіd hоr development of theatrical diї. “The stage space, - as A. Tairov designates, - at the skin of its own part, there is an architectural twist, and more folding for the architecture, yoga masses are alive, crumbly, and here the search for the right distribution of these masses is one of the main heads.” Actors in the course of the stage manifestation gradually settle the meanings of the groups, the skin actor-character enters the folding spaces with other actors, with the usual playful space of the stage, during the course of the development of the dії p'єsi the warehouses of the groups vary, their masses, the graphics appear that colorful flame. okremі actors, accentuated okremі fragments of actor groups just. This dynamic of actors' masses is rich in what is already laid down in the dramatic material of the performance and in the main theatrical image in the creation. The actor is not excreted by the subject of Zavkolishnim Svіt. The subject, Z succinous atmosphere, scenic, Vіn Sprinkle to Glyhadsh Tіlki in the context of the scenic prostrip, and on the center of Tsєmovniznyniyi, the prospect of Vіdnosin, Dynamika Mascus, the Vistavi Vistavi sir, the dynamics of Vistavi.
The three names of understanding and lankas of a single system for arranging the mass of the stage space and establish the compositional level of the theory of scenography, which determines the mutual weight (heaviness) of a spacious performance.
The approaching compositional plan of scenography is the colorfulness of the vistavi, as it was enchanted by the laws of light that color palette of the stage atmosphere.
The light of the theatrical creation manifests itself in its own serene form before us, like a wild illumination, a wild abundance of the vastness of the vistavi. Sounds of light (theatrical lighting fixtures or natural lighting on a bright stage maidanchik) poklikana vysvitliti obsyag stage, saturate yoga with light, smut robiti yogo visible. Other zavdannyam є zagalny svіtlovy camp, the appointment of the hour of the day, the creation of the mood of the vista. Zovnіshnє svіtlo also shows the form, the color palette of the stage space, which is organized, and the actor's ensemble, which is in the new. Everything can be included until the understanding of the theory of scenography "outdoor stage light".
The coloristic diversity is manifested in the color variability of all the stage objects, the tightness, in the color curtains, in the costumes of the actors, in the make-up. Everything can be seen in the understanding of “internal light stage forms”, as if concentrating the fundamental regularity of color interactions in the stage space.
Sounds and internal light (color) can be divided as a whole only theoretically, in nature stench is indistinctly connected, and on the stage you can know your own expression in light-colorful interchangeable colors in mass space, including the costume, the make-up of the actor and the light. Here you can name a sprat of the main directions. The purpose of showing the stage space, where the detail can be shown, is “introduced” into the depths of the space, according to the logic of the theatrical performance. The interpenetration of light and the color of the mass of the scene shows the entire coloristic harmony in the performance. The nature of the light-colourful interplay lies in the performance as well as in the sense of the senses in the course of the development of the performance. This is the fate of light, light and colorful patches near the expanse of the stage, colorful dominants in the playful verse of the stage vistavi: light-colorful accents, dialogue of light with the actor, looking skinny.
The third compositional level of scenography is the plasticity of the stage space. Shards on the stage act as an actor, then this space can be plastically separated and is to blame for the plasticity of the actor's ensemble. The composition of the plastic vista vistavi manifests itself through the plasticity of stage forms - first; in a different way - through the plastic baby of the actor's face, and, in a third way, like correlating with the interaction (in the context of the development of theatrical creation) of the plastic baby of the actor's face and the plasticity of the forms of the stage space.
A transitional lantern from a single mass to plasticity є tactility of the surface, a distinct texture: wood, thin stone. In the theory of scenography, what is being formed, the understanding of the “plasticity of stage forms” is guilty of being dictated by the head rank influencing the subjective light of the scene of the dynamics of the line and the plasticity of the body. Scenic speeches are interrupted by an uninterrupted dialosis due to the plastic development of the actors' poses, the ensemble prompts are sparse.
Plastic human body she knew her own image in the art of sculpture, having taken from the creations of theatrical creativity, especially ballet, her own development. In the performance, the plasticity of the actor's ensemble is manifested in the encouragement and dynamic development of mise-en-scenes, like subordering the actors and the entire stage space to a single task, welded onto the opening of the stage creation. "The plasticity of the actor's face" is the most expanded understanding of scenography. It's roaring on the robots of K.S. Stanislavsky, A.Ya. Tairova, E.B. Vakhtangov, V.E. Meyerhold, A.K. Popova and in.
The plasticity of the stage space is known for its compositional completeness in the interplay of the actor's makeup and the plasticity of stage forms, which are visually identified in the midst of the performance. The mise-en-scene baby of the stage creation develops in the dynamics of the scene, the skin detail of the yogo is tied to the actor with a direct and pivotal link, included in the development of the performance, constantly changing, the skin is new, visually meaningful “words” with new accents and nuances. The versatility of the plastic movie is due to the shifting of the stage masses, the change of light-colourfulness and straightness, and the development of a dramatic dialogue, to the development of a dramatic dialogue. A plastic solution to the stage is formed by the constant splicing of the actors from the objective light of the stage, the complete stage medium.
Three compositional equals of scenography vistavi: rose the mass to the stage space, the light-coloured state and the plasticity of the destruction of this space rebuy the theatrical creation in the post-correlative mutual modality. The stench is a skin stage detail. in all the plastically drenched expanses of the stage.
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The theatrical production designer at the same time as the director creates at the show not just a “place of diy”, but theatrical furnishings, in which there is a specific stage action, an atmosphere that flows out of it.
The conflict in Vista manifests itself less often in Dії. The design of the performance takes the fate of yoga development that. allowed. The conflict, less expressions, is always illustrative, reaffirming its “formulation” of the same static nature of the performance itself. Buvayut blame from this rule, if such an open, figurative conflict requires a special genre of vistavi: a poster, a pamphlet, just.
Obov'yazkovoy mental creation of the design of the vistavi є for the artist, the Rukh and the conflict are the foundations of the diversity of any kind of art. In science, as in life, there is no indistinctness and restlessness. People just don't take them.
For sprinyattya theatrical performance we have the necessary space in front of us, in which the middle of the stage will be seen, it will be an actor, and space, in which the gazers will be placed. The two zones are at once called the theatrical space, and the zones are the gazing and the stage.
In such a rank, from the last vyshchevykladeny, it is possible to make visnovkas, which are to be found in the minds spacious middle, time and rhythm.
At the theater, the hour is the obov'yazkovy component of the performance;
Be-yak, the art of art is for the minds of the singing rhythm. Nyiaskravіsh rhythm manifests itself in Muzitsky, Piazії, Dance, Mensen Viazno - at Prosі, painting, ale rhythm Wozdi Bere Fate at Organizatsії Mustestva, Zmushechi Glyadacha, Svakhali Pіdporovyuati Sviy Internal Rhythm, his rhythmіchna camp Rythori Mussettva, Tsym, dії.
The theatre’s problem of rhythmic organization of the play’s flow to the viewer is one of the most complex: with the beginning of the stage, it is necessary to include a great number of people into the single rhythm of the stage performance, as they perebuvayut at different rhythmic camps. Some, having bought a ticket a month before the vistavi, came to the theater pishki, internally ready to welcome the well-known p'yesi; the other one, on the rest of the day, having bought a ticket out of hand, having heckled, flew into the already dark hall, not knowing how to win the wine. Zvichayno, for bringing everything to readiness, you need to take active measures and take it.
Spriynyattya dermal type of art will require singing minds. For painting, light is necessary, but if it is not dark, like, with its blackness, film is necessary; for music, silence is a lingering mind, and a sculpture can be adopted only for the presence of a calm, even body.
A theatrical production designer, floating to the right with a physical space (let's circle specific dimensions), changing its proportions, the scale according to the size of the human figure, filling it with different objects, in a different way visvitlyuyuchi, transforming it into the space of an artistic, imaginative
Although the character of the theatrical expanse is more or less: the arena, the proscenium with the amphitheater, the stage, the tiered hall with the stage-box, - there are only two sloping ones: real and illusory.
Real space don’t take your own references. Glyadach vіdchuvaє yoga depth, width, height, and everything that is known in this space, obov'yazkovo vіdchuvaє human figure. As soon as he instructed the actor to stand a small stіlchik, - everyone will understand that this is a child's stіlchik.
Illusory expanse stvoryuєtsya zazvichay minds in Stage-boxes, if an artist vikoristovuyuchi the laws of perspective, rіznі maskuvannya that transformatsії spravzhnіh rozmіrіv stsenіchnogo Marketplace that priyomi stvorennya in glyadacha vіdchuttya Glibin, zmіnyuє spriynyattya real rozmіrіv stsenіchnogo spaciousness, stvoryuyuchi іlyuzії bezkraynіh polіv, bezkraynogo sea, endless sky, far away hand-stitched objects, etc. A small stylchik next to the actor in these illusory minds can already take on not like a child, but like a normal stool that stands far away, for a promising one is short-lived.
For the folding decorated Vistavi, the artist at the reflecting yom umobas, a doner, Hasu, the rhythm is chopped by Mater_alom, and we will succeed in the first plastic Mr. Musterstva, it's all-in . We use only one material, like sculpture and literature, the theater cannot. The material of the theatrical artist is synthetic;
At the performance, the artist may have images of a change of color and light, a change of costume on a different aphids, a change of mise-en-scene positions thinly. Even more often ruh є just ruh.
In the uninterrupted Russia of the rotary stake, the center of which was the party committee, the image of the vistavi "Protocol of one meeting" for the song of A. Gelman in the ABDT im. M. Gorky. Ruch Cola Zi Schwidkіsti Khvilinoї ї Stalki Yesєnyuvati Launcher Nepomitno Zmіnyuvati Laying Character, Shaho Sying at the table, on the sophistication to Glyhardcha, and Torozh, Scho RuhaєSh, Schwidkіstyu, Shaho, Stinni Pattcіsti, Washless Turn KIMNATi Navkolo Glyhardcha і KIMNATI in the performing performances accent: hanging on the wall a portrait of Lenin on the back of the wall at once, which is collapsing, roaming from the field of a staring eye, and at the end, if the room is robbed of a new turn, it appears anew. The appearance of the portrait does not look like an annoying metaphor.
The butt of a theatrical vision of the conflict, if the design is inextricably angered in a single figurative whole, it may already be a vistava of the Kiev theater named after. Lesi Ukrainki "At the day of fun".
This is how the conflict-divine structure looks like itself in a single design by D. Leader before the performances of Macbeth by W. Shakespeare and Car'era Arturo Uї by B. Brecht. Decorated up to tsikh wistav є crossing two streets of the modern city with stovpami, cobweb wires and roof hatches of underground communications on the asphalt, from which they rise to the surface of the underground world and go to Arthur "Macbeth", and gangsters in "Karo U" .
A clapper to the asphalt in an empty stage, tangled with wires, edging with metal stovpas, sticking like broom mushrooms, hatch covers - entrances to the underground light, live evil - not pobutov, but theatrical furnish, not pobutov, but theatrical middle of the house.
A pom_st from old orphan planks with a bunch of freshly sawn inches and bunches of quotes - it’s theatrical, not pobutov’s place, not pobutov’s, but theatrical truth.
A crooked maidan-furka, all filled with antique furniture and stuffed with people so that the apple has nowhere to fall, that you see in the center of the empty stage in the Meyerhold's "Revisor" - this is not a pobutov, but the theatrical middle ground of the actors on the stage.
Ale expanse the stage by itself, dead and incomprehensible. A varto set fire to the intestinal lichtarik and send a thin prom on the boards of the tablet, or turn on the black lights all the time - the scene came to life: the contrasts of dark and light, warm and cold appeared. . .
Vlashtuvannya stage.
Dzherelo: What's up? Dovіdnik-wordbook for a young person" Petro Monastirsky
Ar'erscene. The back part of the stage is a reserve place for saving scenery.
Grids. The upper part is stitched over the stage board. The main element of the grate in the flooring of the beams, mounted on the vіdpovіdnіy vіdstanі one vіd one. Such a setting allows you to create a stage or lower the scenery and other elements of the performance. Above and below the grate, blocks for cables are installed, lighting fittings and everything that is necessary to hide from the eyes of the beholder.
The tablet. Podloga in the stage box. To put wine in such a rank that the new man did not have gaps. Tse pov'yazano z okhoronoy zdorov'ya, safe for nіg. In dramatic theaters, the tablet is shattered from different turning stakes and concentric rings. Such a "small mechanization" allows the creation of additional creative tasks.
Kiltse-Kolo. One of the most important elements of the machine on the stage is a ring, cut into a tablet and wrapped around an indestructible part of the tablet. In the remaining three or three decades, a decade showed up in the stage machinery in the next ring. It can be wrapped around at once from a stake, so it can be fastened with similar fastenings. If it is necessary, it can wrap itself autonomously in the form of a stake. This foldable mechanics helps to bring to life a rich set of scenographic ideas of the artist and director. Especially if the stake, let's say, collapses behind the Year's arrow, and the ring - against the Year's arrow. In different cases, these contributions may be blamed for additional video effects.
Proscenium. Part of the stage, deshcho hanging in the hall for peeping. In dramatic theaters, serve as a place for small scenes in front of a closed curtain, which is the link between the main scenes of the performance.
"Kishene". Good service accommodation from both sides of the stage box, de, first, you can take away the elements of the stage design of the performances in the streaming repertoire, in a different way, mount the furks, which collapse, on which they take the necessary decorations for the presentation of the paper on the stage, schob the beginning of the upcoming episode. In this rank, while the performance is left behind, the rights are taken up for the upcoming episode. This technology ensures the dynamics of change of the city.
Kulisi. At the theater there is a part of hanging decorations, a part of the stage clothes. Roofing from the sides of the stage box, in parallel or under the hood to the portal, surround the playing space, mask the scenery that stands on the sides of the stage, cover up the side spaces of the stage, acquiring technical possession, lighting equipment and artists ready to go. Kulisi roam the invisible those behind them.
Stage portal. The veils in the front wall of the stage, which are cremated in the gazing hall, the left and right portals make the mirror of the stage so called. The cream of post-stones on the stage is two ragged, for their help the stage can quickly grow in size.
Stage mirror. Reception in the architectural portal, which opens the stage box in the hall for peeping eyes.
Decorations. In our day, with the emphasis on artistic design, we speak more often about scenography, and not about decoration. Skіlki іsnuє theater, scenery before performances bula obov'yazkovaya warehouse it’s more like a characteristic of the place of podії. Before that goiter, they said, in a first way, the confession of the vistavi, the de actors told the story. In a different way, the author's remarks of the goiter were made to issue a place for a diy. Ale, when a director showed up at the theater, everything started to change in the image of the play, emotional clouding ... The theater ceased to be a straightforward sight, and began to speak with allegories, tensions. Elementary scenery in this moment could not have been needed: it could not provide a little or no glimpse of the union of the scene of those peeps. For new minds, scenography has already become a necessity, as time by time it has become more and more to win the hearts of those who look, that the greatest artists-creators of the world.
Scene clothes. Framed stage boxes, which are made up of lashtunks, padugs, backdrops. Padugas are fixed over the tablet on horizontal battens. The stench "hove" all the statehood that is in the mountains, pidzor the same fall, ale vіn know closer to the looker and cover the battery and the first spotlight. The floorboards are covered with rugs, which are not too familiar to look like a wooden bed, in a serious skin theater, such sets of sprats are stale in the form of furnishings. As a rule, the clothes are a scene of satisfaction on the road.
Paduga. Smuga fabric of the same color, like a coulisse, is moved horizontally near the upper part of the stage box. It’s there and distorting the look of the peeping “technical nonsense, rotting under the grate (sofity, lighting, other elements of design).
Pidzor. A frill, a fringe oblyamіvka, that I'm walking along the edge of a bag. Fastening on the pants.
Shtanket. A detail of the stage mechanism is a rod from the left to the right place, which lowers and lifts the elements of decoration to it, as if they fall down with their hands or with a motor.
Back. Great pictorial canvas, as if it could be ashes for vistavi. Next guess that the back is not obov'yazkovo can be malovnichnym. V_nodi can be just a part of the stage dress. So, wine can be neutral, the same for the color, like the wings of that paduga.
Sofit. A battery of lamps, selected from the song programming sequence, straight down on the tablet, or on the back, or on the hall for spectators, or on the different part of the stage box.
Ramp. A long, low bar of the proscenium, which is attracted by the gazing lamps, directed onto the stage.
Proscenium. The stage before the curtain. Proscenium ce and additional area, which can be used as a vikoristan for intermedia, screensavers between pictures, interplay with peeps.
Dependence. Hanging, as if the stage is in the hall for peeping eyes, after the skin air curtain, after the intermission, it will rise again. Let's surround the main curtain, the great theaters have a super-curtain that hangs on the first pants and an anti-burner curtain, so that after the skin curtain falls, to open the stage in the hall for peeping people. Today, in front of the cob of vistavi, the protipozhzhe veil rises and hangs there, on the hills, in combat readiness, on the verge of fire.
The art of the theater has its own specific language. Tilki volodinnya tsієyu movoy zabezpečuє glyadachevі possibility of artistic intercourse with the author and actors. Nezrazumila mova is wonderful. 269* ). If Leo Tolstoy, looking over the whole life of the present-day yoma of civilization, having made my opera opera look like “unnatural”, the opera immediately turned into a maiden, and wrote in a substantiated way: I feel like it’s so with foil halberds, at shoes, in pairs nowhere, we’ll be around like a theater, don’t walk, so don’t get angry, don’t get mad, don’t laugh, don’t cry ... 407 sumnіvy" 270* . Pripuschennaya, zgіdno zgіdno zgіdno zgіdno zgіdno zvіdno zhizveshche maє yakusі s umovnu movu, іtlki yakshko it's wondrous and unreasonable to us, and іsnuє "so simple", pose like movnoy specificity, like it's out to us natural and razumilim, - naїvno. Aje and kabuki theater are Japanese eyes of nature and wisdom, and Shakespeare's theater, a kind of bouv for European culture and vivid naturalness, seems to Tolstoy to be piecemeal. The language of the theater is formed from national and cultural traditions, and naturally, like a person, zanuren in the same cultural tradition, learning the specifics of the smaller world.
One of the foundations of the theater is the specificity of the artistic expanse of the stage. She herself sets the type for the world of theatrical intelligence. Fight for a realist theater, a theater of life's truth, Pushkin, having spoken a deep thought, what is outside ototozhnennya stage that life, or simply say the specifics of the first, not only not violating the order, but practically impossible. Move forward to “Boris Godunov” in the drawings, writing: “I classics and romantics based their rules on credibility And in the meantime, the very nature of the dramatic creation is turned off by the very nature. Not seeming more often than that, like, to the bіsa, plausibility can be 1) near the hall, divided into two halves, in one of them there are two thousand people, invisible to those who are on the bridges; 2) language. For example, in La Harpe's Philoctet, having heard Pierre's tirade, he speaks in my purest French: “It's a pity! I smell the licorice sounds of the Hellenic movie” and that in. Guess the old ones: these tragic masks, these sublingual roles, - why are they not mentally implausible? 3) hour, place and in. that in.
408 The reference geniuses of the tragedy did not give a damn about the plausibility. It is demonstrative that the “mental implausibility” of Pushkin’s movie scenes is based on the right stage truth, that the fault is to develop in life reality the development of the characteristics and truthfulness of their characteristics: “The credibility of the position and the truthfulness of the dialogue is the axis of the right rule of tragedy.” Having seen Shakespeare with such truthfulness (like Tolstoy said in the evil of “unnatural podias and even more unnatural ones, do not cry out from the situation, promos”): “Read Shakespeare, you should not be afraid of compromising your hero (breaking the mental rules of stage performance”) . - Y. L.); Tsіkavo, that the very nature of the scenic space (“hall”) Pushkin laid the basis for the “intellectual implausibility” of the movie scene.
The theatrical expanse is divided into two parts: the stage and the hall for spectators, between which the blues are formed, which form the deeds from the main oppositions of theatrical semiotics. First of all іsnuvannya - neіsnuvannya. The buttya and the reality of these two parts of the theater are realized in different worlds. From the glance of the peeping, from the moment of the beginning of the dependence, the cob of the cob ceases to function. Everything that is known on the rampy bots is known. This right-handed reality becomes invisible and acts like a mass of illusory reality of the stage performance. At the current European theater, there is a crowded hall for peeping at the dark room at the moment the light is ignited on the stage and on the floor. As if we are visible to a person, so far from theatrical intelligence, that at the moment of a dramatic show, not only with equal respect, but for the help of the same type of zoru in that very hour, the scene, the prompter’s ruins in the future, lighting up at the box, gazing at the hall, bachachi in the same day, then you can be with the same support 409 to say that the mysticism is unknown to the beholder. The cordon of the "invisible" is clearly visible to the beholder, although it is far from being so simple, as in the theater that is familiar to us. So, at the Japanese lyalkov theater, the bunrak lyalkars are located right there on the stage and are physically visible to the viewers. However, the stench is dressed in a black robe, which is a “sign of invisibility”, and the public should not shake their heads. Turned off from the artistic expanse of the stage, stinks fall from the field theatrical dawn. Tsikavo, sho, from the position of Japanese bunrak theorists, the introduction of a lalkar to the stage is assessed as improved: “When one person drove the lyalka, he was chained under the stage and cheruyuchy by her for the help of his hands so that the public only succumbed to the lyalka. in black and that are called “black people”)” 271* .
Look at the stage, the hall for the peeps is also not there: for the exact and subtle respect for Pushkin, the peeps " nibito(emphasis mine. - Y. L.) invisible to those who are on the platform”. However, Pushkin's "nibi" is not vipadkovo: invisibility can be here another, signifi- cantly greater world and playful character. Finish to reveal such a row:
in order to perekonatisya, that in the first place the open space of a peeping in the open space of the text is attached to the dialogical nature of their vіdnosin. Only the theater is watching the preparation of this addressee, present at the same hour, and receiving signals 410 praise or I will condemn), apparently varying the text. The same tsієyu - dialogical - nature of the stage text is connected with such a її rice, like variability. The concept of "canonical text" is as alien to the performance as it is to folklore. It is replaced by the understanding of the invariant that is implemented in a number of options.
Another summary of the opposition: significant - insignificantly. The stage space is filled with a high significity - everything that is put on the stage, there is a tendency to become additive in terms of meaning to a non-intermediate-objective function of speech with meanings. Ruh fight with a gesture, rich - a detail that carries meaning. The very peculiarity of the stage is played on Uvaz Gete, if you responded to Eckerman’s question: “How can we be on the stage, how can we be on the stage?” “It can be symbolic,” says Goethe. - Tse means that the skin can be changed again for the best value and at the same time prepare to another, even more significant. Tartuffe Molière has a great eye for this plan" 272* . In order to comprehend Goethe's thought, you need a mother on the floor, that the word "symbol" of wines lives in that meaning, in which we would say "sign", indicative of the fact that the gesture, the gesture and the word on the stage swell according to their analogies to their everyday counterparts The additional meanings of life are filled with foldable sensations, which allow us to say that they become virazes for a bunch of different meaningful moments.
In order to make Goethe's deep thought become more clear, I will quote the following phrase from the first entry after the words we have pointed out: “Guess the first scene - like an exposition! All in the beginning of the new meaning and zbudzhu ochіkuvannya more important podіy, yakі mаut buti”. "Repetition of meaning", about how to say Goethe, is tied to the fundamental laws of the stage and to establish the іstotnu vіdmіnіnіst dіy thаt words on the stage 411 that is the word of life. Lyudina, how do you promote and rob yourself in life, you can hear that the spying of your spy is on your ear. The scene reflects the same behavior, but the nature of the addressee is twofold here: the language turns to another character on the stage, but in fact it is addressed not only to you, but to the public. A participant in the event may know those who made the scene change, but the public knows. Glyadach, as a participant in the game, does not know the future move, but knows everything ahead. The knowledge of the peeping man is higher, lower the character. Those, on which a participant can not show respect, are for the peeping person an important sign. Khustka Desdemoni for Othello is a proof of її for the sake of it, for the parterre it is a symbol of Iago's accessibility. At the butt of Goethe at the first comedy of Moliere, the mother of the protagonist, Pan Pernel, is so blinded by the Oshukan Tartuffe, like a son, enters the super-girl with a mustache, protecting the hypocrite. Orgon has no time on the stage. Then Orgon appears, and the stage, splendidly full of peeps, seems to play out suddenly, but already with yoga, and not Mrs. Pernel, I will take part. Tartuffe himself appears on the stage at the third stage. Up to this moment, the gazers have already ignored the new external appearance, and the skin gesture and the word become for them symptoms of lies and hypocrisy. The scene of calmness of Tartuffe Elmira is also repeated by two. Do not sing the first їх Orgon (lookers її sing), but the verbal vikrits of the home are encouraged to swear. Another wine is guarding the table: Tartuffe tries to calm down Elmira, thinking that there is no one to beat them, and at the same time wine is resting on the underside of the sight: in the middle of the stage space, it’s like a person’s dreams, and the posture of the hall is to look at. Nareshti, all this is collapsible pobudova otrimu architectonic completeness, if Orgon retells his mother, that bachiv on the vlasnі eyes, and there, reappearing like a yoga twin, act in the words and inspire the eyes of Orgon і, in the soul of the farcical humor not to check more important weddings for the sake of friendship. Incited by such a rank of diya, from one side, stand like 412 a lancet of different episodes (syntagmatically pobudova), and the last one is like a Bagatorase variant of a nuclear act (paradigmatically pobudova). And that does not give rise to that “completeness of meaning,” as Goethe said. Sensation of nuclear dії - in the zієї prudishness of the hypocrite, who with spiky twists represents black white, trusting stupidity and healthy gluzdu that vikrivaє shahraї. The episodes are based on the semantic mechanism of nonsense, which is resolutely revealed by Molière: Tartuffe excites words with their true meaning, rather changes and vivertates their sense. Moliere to rob Yogo not with a trivial liar and shakhray, but with a sprit and unsafe demagogue. The mechanism of yoga demagoguery Moliere gives a comical vikritt: in front of the eyes of the eye there are verbal signs, po'yazanі zі svoїmіstom mentally і, also, scho allow like information, and disinformation, and reality change; the formula “I don’t believe the words, but I’ll keep my eyes on” is replaced by the paradoxical “I don’t believe the eyes, I smell the words” for Orgon. The position of the peep is more piquant: those who are real for Orgon are a vision for the peep. Before him, two remembrances rise up: those who drink wine from one side, and those who speak from the other drive Tartuffe - from the other side. At the same time, I can smell the intricate words of Tartuffe and rude, but the right words are carried to a healthy mind (first for everything, Dorini's servants). Zіtknennya tsikh raznomanіtnyh semiotichnyh vіdіv є є zіzki іzky komіchіchі efekt, і th thіs sіchеnії sіsom, yak Goethe groaned.
Significant is the thickening of the stage promotional film to lie down, depending on the author, from his affiliation to that other literary direct, on the “mova of the gods” or, more precisely, on the basis of real development. Tse law scene. Chekhov's "ta-ra-ra-boombiya" or a replica about the speck in Africa viklikanі pragnennya bring the stage promo closer to the real one, it's quite obvious that the meaning of the number of them invariably outweighs the one, like the analogous expressions of mali would be in the real situation.
413 The signs are of different types, depending on which the level of their intelligence changes. Signs of the “word” type as a whole mentally combine deake meanings with singing viraz (one and the same meanings in different language can be different viraz); figurative (“iconic”) signs will blend with the viraz, which can be similar to the singing: the “tree” will blend with the painted rank of the tree. Vivіska over the bakery, written whether it be my own, - a clever sign, less understanding for them, who have the right to mine; a wooden “bakery pretzel”, a kind of “trochs golden” above the entrance to the shop, is the final sign, sensible to the skin, who is a pretzel. Here the world of intelligence is significantly less, the proteo of a semiotic novice is still necessary: to learn a similar form, but different colors, material, smut, function. A wooden pretzel to serve as a reminder, but a warning. Nareshti, posterigachevі sled vmіti koristuvatisya semantic posts (at times - metonymy): the pretzel sіd "read" is not a reminder of what is for sale here only pretzels, and as evidence of the possibility of buying any kind of bakery. Prote, with a glance of the world of intelligence, there is still a third drop. Show not a window, but a shop window (for clarity, we put a note on it: “Goods from the window are not for sale”). Before us are the right speeches themselves, however, the stench does not appear in their direct objective function, but as symbols for themselves. Therefore, the showcase so easily combines photographs and artistic images of objects that are for sale, verbal texts, numbers and indexes and real speech - all stinks appear at the sign function.
I will stage performance as a unity of actors, who create and create words, verbal texts, they are used, scenery and props, sound and light design with a text of meaningful folding, which vikoristovuy signs of a different type of tariff of a different level of intelligence. However, the fact that the stage light is significant for its nature, I think it is extremely important 414 between. The sign is essentially super-sophisticated: start real and start illusory. True to the fact that the nature of the sign is material; in order to become a sign, to turn into a social fact, the meaning can be realized in a be-like material substance: value - take shape at the sight of penny signs; dumka - post like poednannya phonemes chi letters, hanging out at farbі chi marmuri; gіdnіst - dress up in "signs of hіdnіstі": orders or uniforms and the illusory character of the sign in give up, which means something else, lower yogo soundness. To what next should be added that the sphere of science has a rich significance for the plan of change is sharply growing. Protirichcha between reality and illusory nature establishes the field of semiotic meanings, for whom the artistic text is alive. One of the peculiarities of the stage text is the diversity of victorious characters in them.
The basis of the stage action is an actor, a kind of person who plays the part of the stage. The symbolic nature of the stage performance is profoundly revealed by Aristotle, respecting that "tragedy is the legacy of the story", - not helping the story, but creating it with the help of the theatre: rozpovidannya for help vchinkіv i podіy"; in traditional terminology, "plot" is closest to the new understanding. Y. L.). True, according to the sayings, I call the bottom one. "The cob and like the soul of tragedy - the very saying" 273* . However, the very main element of the stage performance takes an hour to put on a semiotic display. On the stage, the lancer rises up, the heroes sway the vchinki, the scenes change one by one. Use the whole world for yourself to live a fair, and not a symbolic life: the skin actor “believes” the reality both to himself on the stage, and to his partner and that act 415 whole 274* . And the spectator is resting with the authorities of aesthetic, and not real, experiences: bachachi, that one actor on the stage falls dead, and other actors, realizing the plot of the p'sis, create the natural in this situation, throw themselves for help, call out to the liquor, the avengers - the looker behaves differently: if it weren’t for this experience, the veins become unshakable at the armchair. For people on the stage, a podium is seen, for people near the hall, a podium is familiar to oneself. Like a product on display, reality transforms into a reminder about reality. And yet, the actor on the stage conducted dialogues at two different planes: a pronounced rapport with the other participants in the action, and an incongruous conversational dialogue with the public. In both ways, the vin is not like a passive object of guarding, but like an active participant in communication. Otzhe, this buttya on the stage is fundamentally ambiguous: it can be read with an equal footing and like an unbiased reality, and like a reality, transformed into a sign of itself. Constantly kolivannya between these extreme nights gives life to the performance, and looking at the passive obsession, I turn it over to the participant in the collective act of remembrance, which is performed in the theater. The same can be said about the verbal side of the vistavi, like at the same time and the real promo, oriented towards the post-theatrical, non-artistic rozmova, that in the creation of the movie with the help of theatrical intelligence (the language depicts the language). Even though the mitets of the epoch were thrown away, if the language of the literary text was fundamentally opposed to the butt-butt, in the sphere of modern activity, the injection of another first was fatally inevitable. In tsomu reconversion of Rome and vocabulary of dramaturgy of the epoch of classicism. One hour 416 vodbuvavsya zvorotny vpliv theater on pobutov mov. First of all, even if the realist artist tried to transfer to the stage the unchanging element of the after-art movement, it’s not a “transplantation of fabric”, but a translation of it onto the stage. Tsikava recorded by A. Goldenweiser the words of L. M. Tolstoy: L. N., who appears, lying and waking up by the next room, then we see you at a distance and saying to me: “I was lying there and listening to your words. The stench chirped me from both sides: it was just chirping that they heard the super-girls of young people, and then they looked like dramas. I heard and showed myself: how to write for the stage. And then one seems, others hear. Whom I don’t buy. It is necessary that everyone said (one hour. - Y. L.)”» 275* . Tim tsіkavіshe, for such a creative orientation in Tolstoy's poems, the main text will be in the tradition of the scene, but try to transfer to the stage the alogism and rozіrvanіst of Tolstoy's verbal thinking negatively, stating as a positive butt of the blasphemed him, Tolstim, Shem, Shem, Shem, Shem, Shem. Parallel here can be the spіvvіdnoshennia of oral and written language in artistic prose. The letter does not transfer from your text a dream (wanting to often create the illusion of such a transfer and you yourself can give such an illusion), but translate it with my own written dream. Navіt ultravanGardistskі Dosvіdi Doshchi-Fourth Proszikіv, Shaho Vіdovyuyuzhuyu Rydіviki Skіv i Svіdomo Ruynyt correctly The syntax of Phrazi, not є automatically Cop_yu Movennya: Wishland Movlennia, put on Pipіr, Tobo Pozbulena, Mіmіki, gesture, Virvanna. in the reader’s special “sleep memory”, in the first place, it would become more unreasonable, but in a different way, it wouldn’t even be “accurate”, - it would not be alive, but the dead body , more distant view of the eye, lower talanovita and svidoma transformation її under the pen of the artist 417 Continuing to be a copy and becoming familiar, the stage language is filled with additional collapsible meanings gleaned from the cultural memory of the stage.
The reason for the stage vision is the perturbation of the gazing, that the songs of the laws of action in the expanse of the stage can become the object of a game show, so that the deformation of the scene is caused. So, an hour on the stage can flow faster (and in a few fluctuations, for example, in Maeterlinck, - more), lower in reality. The very approximation of the stage and the real to the hour in some aesthetic systems (for example, in theater classicism) may have a secondary character. Subordinating the hour to the laws of the scene, rob it by the object of follow-up. On the stage, like a skin closed expanse of ritual, the semantic coordinates of the expanse are voiced. Such categories, like “top - bottom”, “right - left”, “open - close” thinly, swell on the stage, inspire the most butt solutions, advanced meaning. Thus, Goethe wrote in his “Rules for Actors”: “For actors, in order to comprehend naturalness, they shouldn’t play like that, as if there were no peeps in the theater. Їm do not follow the profile 276* , so it’s not like you should turn your back to the public ... The right-hander must always stand for the greatest chance of an individual. ” Tsіkavo, scho, blatantly on the model meaning of the concept of "right - levi", Goethe maє on the point of view of the staring eye. At the inner expanse of the scene, on yoga thought, іnshi law: “As I may lend a hand, but if the situation is not necessary, so that the hand was always right, then with the same success, you can give a lion, more on the stage there is no right, no left . ".
The semiotic nature of the scenery and props will make us understand, as we can compare with similar moments of this, it would have been, close, but really compared to the theater of art, like cinema. Regardless of those who are in the theater hall, and in cinematography in front of 418 We are a peep (the one who marvels), who peeps through the stretch of the mustache species in the same and the same fixed position, setting them to the same aesthetic category, as in the structural theory of science is called the “point of dawn”, deeply. The theatrical gazer takes a natural look at the vision, which is determined by the optical shutters of the eye to the stage. With a stretch of strength, the position is left unchanged. Between the eye of the movie watcher and the screen images, on the other hand, the main intermediary is the lens of the movie camera, which is directed by the operator. Glyadach nachebto conveys his thought to him. And the device is ruhomy - you can get close to the object, look at the distant view, look at the beast and below, marvel at the hero of the call, look at the light of Yogo's eyes. As a result, the plan and foreshortening become the active elements of the cinematography, creating a crumbling point in the dawn. The difference between the theater and the cinema can be compared with the difference between the drama and the novel. Drama also takes the “natural” point of view, even as a reader that sub-divides in the novel, the author-revealer appears, which may be possible to put the reader in the open space, psychologically, and other positions are completely submissive. As a result, the function of scenery and speech (props) at the cinema and theatre. Rich at the theater doesn’t play an independent role, it’s just an attribute of an actor, at the same time, like a movie, it can be a symbol, a metaphor, and a full-fledged acting special. Tse, zokrema, signifies the possibility of taking a close-up, zatrimat with new respect, increasing the number of introductions to the display of frames, thinly. 277*
In cinematography, the detail is gray, in the theater it is out of play. Rіzne i stavlennya peeping to the artistic expanse. At the cinema, the illusory expanse of the image hіba sho pulls the gazer inside himself, at the theater, the gazer invariably changes the pose of the artistic space (at whom 419 paradoxically, the cinema is closer to the folklore-farce showmanship manifestations, the lower modern non-experimental theater of Moscow). Zvіdsi signifi- cantly increased in the theatrical scenery function, which was most clearly expressed in the lines with the inscriptions in Shakespeare's "Globe". The scenery often takes on the role of a title in a movie or a remark by the author before the text of the drama. Pushkin gave the scenes in "Boris Godunov" a type: "Girl's field. Novodevichy monastery”, “Plain near Novgorod-Siversky (1604 year, 21 babies)” or “Tavern on the Lithuanian cordon”. Name it that way, like the headings of the chapters in the novel (for example, in the "Captain's Don"), included in the poetic construction of the text. However, on the stage, the stench is replaced by a functional symbolic adequate - a decoration that signifies the place and the hour of the day. No less important is the function of theatrical scenery: at the same time, out of the ramp, it marks the boundaries of the theatrical space. Considering the cordon, the closeness of the artistic space at the theater is significantly more pronounced, lower at the cinema. It is necessary to bring the modeling function to a significant advancement. If cinema has its “natural” function of gravity, before we accept it as a document, an episode with action and the need for special artistic susilla in order to give a model of life like that to you, then the theater has no less “natural” action in a borderline ugly look and need special artistic susilla in order to give it a look of documentary "scenes from life".
We can use the butt of the theatrical and cinema space as an expanse of “modelling” and “real” as a butt of Viskont’s film “Likely”. The film was born in the 1840s, at the beginning of the anti-Austrian uprising in Italy. The first shots take us to the theater to see Verdi's Il trovatore. A frame of inducements in such a way that the theatrical stage is like a closure, open space, space of a mental costume and a theatrical gesture (characteristic is the figure of a prompter with a book, 420 restashed pose what space). The world of cinema (showing that the characters here are also in historical costumes and play in sharpened objects and in the interior, sharply in the spirit of a modern day) is like a real, chaotic and entangled. The theatrical manifestation is like an ideal model that will serve as its own code to the whole world.
The scenery in the theater defiantly picks up its links with painting, just like in the cinema, this link is borderline masked. Vіdome Goethe's rule - "the scene needs to be seen like a picture without figures, in which the rest are replaced by actors." Let's send it back to Viskont's "Slightly" - a frame that depicts Franz on the aphids of the frescoes, that depicts a theatrical stage (a film image that creates a painting, that it looks like a theater), that depicts the actors. the contrast of artistic language that is thrown into the eyes 278* It’s less of an encouragement that the cleverness of the scenery is like a key to the entangled and even the most obscure mental state of the hero.
Heavy, important folds enveloping a single window of light. The curtains framed the vіvtar of art with the lower mother, who hugs her child. Smooth lining, black farboa, and black hanging on the back wall. Everything is so black and so bright! The axis at the warehouse passed the oar, and the axis smiled right backstage. Everything is so wonderful and so enchanting here! in glasses. and from her laughed the light, the coulisse, the pidlog, the stele, and the wind again. Everything is so wonderful and so charming here!
- From my rozpovіdі "The one who laughed on the stage"
Today, I would like to talk about the stage, the stage space and about those, how to win. How to expand the decorations and the special features? How do you rob it so that you can grab it, why is it not obov'yazkovo for the peeps? How to win a minimum of decorations and props, maximizing the result?
Let's take a look at what the stage is like a space. I am obviously not a professional stage director, but I know a thing or two. I learned a lot in America (I worked out there at the theater club and played at performances and musicals), I heard a lot from people who got to know me, and I did it myself. Also, the stage space can be mentally divided into squares (well, or rectangles)), our dancing points are easily superimposed on the arc. Look around like this:
So So so so! I didn't confuse left and right =) On the stage, left and right are assigned to the position of an actor/dancer/spivak, and not to the position of a spectator. Tobto, as in the scenario of You Bachite "I'm going to the lion's wings", then to go You are guilty of the lion see you.
How to expand the decorations and the special features?
Zvichaynno Well, razvodite mise-en-scene - the director's robot. Hello and yourself playful face I am guilty of understanding why and now the stench is perebuvayut at this point of the stage space. For proof: mise-en-scene(French mise en scène - placement on the stage) - the placement of actors on the stage at that other moment of the vistavi (zyomok). The most correct thing is not to turn your back to staring. However, it costs less than a fleeting turn. It dawned on me that there are ruhi at the dances, if it is necessary to lean with your back to look. Well, chi in theatrical productions can also have such moments. And the axis, for example, as you have a dialogue, on the stage you can’t turn around to your partner again, and you can’t turn on the other side, because the central part of the hall is like a part of the hall and sway your appearance, the extreme lookers are unlikely. And at the same time another sound is ruined.
Krіm tsyogo, the scene is practically not guilty of being empty, for a wink, obviously, quiet vipadkіv, if it is necessary to give a chair, like the hero of his own accord, for example ... but then again, fantasies are watered. Ale navit in such vipadkah "empty" scenes relatively thought out. Here, sound and light come to the rescue, but about the same troch pіznіshe. Father, how to remember the space? In the first place, the heroes of the innocent know each other closely one to one. As the stage is large, and there are two people standing on it, for example, one chair, it’s enough to put people on a decent stand, one in front of one, place the chair on the edge of the stage, let’s say, at the 8th point - and voila, open space! From the other side, you can see between the fiery persons and the scenery can be like a river. Also, the pieces of furniture, or be-yakі іnshі ob'єmnі décor, do not follow the placement in the line, though the scenario does not mean that. For example, as if you were seeing in an ancient temple, the colonies were built in 2 lines, logically and rationally. And the axis to put a sofa, a window, an armchair, a closet and a wardrobe, one by one, is hardly a good idea. You will look more richly at a distance, closer, closer, straight ahead, and closer - under the hood. And if you need to "sound" open space, picture, for example, a small room, then you can push everything and everyone closer to the edge of the stage, so that you can "see" 4, 5 and 6 points.
How to win a minimum of decorations and props, maximizing the result?
Why does cinema look like a theater? The cinematographer's speech is richly realistic. For example, at the cinema, it’s true, you can go from the snow or the board. At the theatre, there is no, only sound, light and air of actors. Vzagali on the stage, a lot of speeches become obscured. Showing the objects to help the decoration and props. So, the backstage is nibito attached to the right blue doors, from which the heroes appear, the hall for the peeps symbolizes the window and so on - you can point the butts innumerably. Particularly often and evocative objects and evocative manifestations are victorious in dance performances. Why? To that hour, they rearranged the scenery and blamed the whole set of props. If a diyova person clearly states what kind of object she has in her hands, then be a person as a whole, you should think and look at it.
How to ameliorate the respect of the spy?
Indeed, the whole science! Tse to come from dosvіdom, practically never go out to win the respect of a spy just like that. If it’s a dance, it’s easier here, but if it’s a theatrical production, it’s more complicated.
Father, first of all - look. Є such garniy way to look at no one and at all eyes: for whom it is necessary to pick a spot on the far wall of the hall for peeping eyes; the point is guilty of being right in front of you and a little more than a distant line. Sometimes, for concentration of respect, diyov individuals rob their own "sacrifice" and marvel at the badolaha for the whole hour of their outing. Sometimes you can work like this. Ale, everything can be in the world))
Another point is viraz denunciation. I don’t take theatrical art here - everything is understood there and so, viraz the appearance can be sung. If you dance, pay respect to your mimicry (viraz guise). 90% of dances need a laugh. Dancing with stone-funeral, borderline-stretched appearances is not a good idea. So you can fart out of tension =))))) Buvayut dances, in which it is necessary to show hatred, nіzhnіst chi anger - be it an emotion. And yet, all the same, all these moments are exchanged for an hour of visiting. Well, well, you were not given the usual "special" instructions for the drive of mime, laugh))) Before the speech, just like that, like a monologue, it is necessary from the very cob to speak yoga with the necessary fluency, dance also, it is necessary to sing with a smile. To the one who went on stage, you also spend 30% of what was at the general rehearsal (which is no more), a laugh too. The laughter is due to this, but it is a self-evident fact.
The third point is the rapt effect. Don't wait until the month, but it's still important. Do not let the gazer wonder what will be far away, do not let him talk, marvel at your gazer - and marvel at you without spitting your eyes. Shorter kazhuchi, do not be perebachuvanimi.
How to grab some nedolіki and show advantages?
Navit navitalnіshі actors іnоdі demand "clothes". And seemingly "clothes" I can't wear a shirt and pants. The stage attire is no less than a costume, but it’s also a trifle, for which emotions are hunted. Tobto that the hero is angry, that he is checking, that he is nervous, that he is not guilty of being on stage like a perplexed, grab yourself by the hair and mute the whole hall. Then you can work it out like this: people drink water and plastic bottles; p'є sobі, marvel kudis down or navpak uphill ..... p'є, p'є, p'є, and then - rrrrraz! - sharply minaє a bottle in the hands and bubbling ubik, marveling at the birthday. Adzhe realized that you are evil and check what? Behind such axis director's secrets, there are not enough people. It’s easier to show the advantages, I think, there is no particular sense of writing that it’s simply not necessary to know them, but farther - right technique. An important role is played by contrast. If you don’t want to show off your technical shortcomings, don’t make a man less smart with more knowledge and kindness. If you want, here, obviously, a club with two points: drop one, drop the other.
I'm far from a professional. I repeat: everything that is written in this article, I recognized it from the people who knew it, I read it here, to the point of delusion myself. With my thoughts, that visnovkas can be used and need to be compared =) But I wrote here those that I think are correct, that add to the victoria. Ale, vikoristovuyuchi, remember the Ukrainian proverb: too much is unhealthy!... =)
Far away to you productions!
