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"Theatre-discerning person is not able to "visit" in ourtime his nerves can not stand the nightmare of identity our home"theatres for themselves." His desire for border on the dirty East, almost to"the middle of nowhere", sometimes derived from a simple desire to see those around himother clothing" (ibid. P. 105). Moreover, even the problem describedas a modern in the film "Irony of fate or With light steam!", it turns outthe semiotic problem of the early XX century: "the same (exactly the same)the mistress of the house, with exactly the same manner, similarly dressed,"Bonanno" and the same interested in, judging by her questions; suchthe same nice guests his real friends, the same "circle" and restraint injudgments about art, politics and other things, with the same bald head and samethe percentage of military among civilians... Yes, he was in someone's house (in the neighboringhouse), the wrong floor, etc. But is it my fault that so shamelessly all likein our Petrograd, beginning with houses, continuing device apartments tomise en scen'AMI actors" (Ibid. P. 104-105). Similar hedescribes the interior: "the arm-Chair right, chair, to the left,in the middle of the couch, in front of him a table, on the table lamp... Mavericks!..you are powerless even against a feisty template of your great-grandmothers!" (Theresame.P.104). The society of the past had only semiotically much more clear secularroles: "a Visit to the so-called "light" and cast there "Queen of the ball","Grand lion", "an important dignitary", "reckless personality","artistic nature", "charming cynic", "Childe-Harold","weirdo," "the misanthrope" and so forth" (Evreinov N. N. Theatre for himself. -- Part 3.P.21). Thus revealing the universality of the concept of theatricality, andN. Evreinov it was found also in the animal and vegetable world (See,example: Evreinov N. N. Theatre in plants // the Apocrypha. -- b/g -- No2), he formulates this notion in purely semiotic terms: "Theatrical illusions are necessary to the credibility and not "real",we need a picture of the subject, not the object, you need the representation of actions, andnot the action itself"
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