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Among the features of theatrical language A. Kugel include otherthe perception of a literary text on the stage. He draws on the example of Gogol."Gogol loved logicheskoe, finding in horse racing logic a charmcomic. (...) I saw on stage "diary of a madman". They gavequite a different impression than reading. Crazy on the stage can not bedefinitely funny. The theatre puts the failures of logic with special splay. Readingyou enjoy only the wit and liveliness of mappings watchingactor, you can't help but sympathize with the unfortunate, torn from the chainlogical need. Visually because Poprishin crazy. Visually itall clean-shaven. Visually he poured a shaved head with cold water, and ita hundred times stronger than what the Algerian fight under the nose cone. (...)Stage performance has an extraordinary power of some, I'd saychemical reagent. The saying in photography, the scene "shows" (KugelA. R, Russian playwrights. - M., 1933. P. 44-45). The special nature of the theatrical semiotics of the language occurs due to the sharpnarrowing of the functioning of verbal language: "dramatic poetry, devoid ofhelp descriptions fills that gap enhanced expressivenessconversation. This is where a lot of artistic means is the highest degreeart..." (ibid. P. 19). About the playwright Ugine A. Kuheljsays: "Theatre at Ugine not only the construction of plays, the theatre not onlymaterial. The word of his theatrical, full sounding, the costume" (the Aphidssame. P.104). Because of other usage of language semiotic is not only a word,but the lack of it-silence. "The art of the pause, which plays a role inthe current drama is not after all a form approved by words, but ratherthe negated form of the word. The art of silence -- the most difficult and at the samethe most honorable form of stage art. It is in thethe tragic moments of their life people least inclined to talk"(A. R. Kugel Approval of the theater. -- M., 1923. P. 149). And thenthe fundamental axiom of theatrical communication: "first of all you needto opt-in theater from absorbing, absolute, adenocarinoma cultthe words" (ibid. P. 151). This reorientation is based on importantthe arguments of communication
considered myself a writer. This book I have cherished for a long time. It can beinsufficient literature (no experience, skill), but she has noliterariness" (ibid. P. 378). In vysheperechislennyh famous60 years of memoirs Ehrenburg mentions high school studentshis school, whom he had known. All this names are very importantin this Chapter the history of semiotics: Bukharin, Astafiev, Tires, Argo. In this list there are also novelJacobson, with whom they worked together on vacation. About it Ehrenburgwrite in his memoirs: "I Think in September 1923 from Praguearrived in Berlin a friend of Mayakovsky and E. Y. Tirol red-haired Romka -- the linguist RomanOsipovich Jakobson, who worked at the Soviet mission. In the poemhave become classical, Mayakovsky says the diplomatic courier Nette, "eyesmowing in printing of wax, long talked about Roman Jacobson and ridiculous sweatingpoetry teaching". The novel was pink with blue eyes, one eye squinting; drank a lot, butkept a clear head, but after the tenth glass buttoned his jacket the wrongbutton. It struck me that everyone knew -- and the construction of poemsKhlebnikov, and old Czech literature, and Rimbaud, and the machinations of Curzon orMacDonald. Sometimes he had fantasies, but if someone tried to convict him ofinaccuracies, smiling replied: "It was on my part a working hypothesis"(Ibid.P. 422). All of this creates for us a very special context of perceptionthe book of I. Ehrenburg. The novel is quite structural and systematic. And it begins in the firstwith a completely semiotic paragraph: "I was feeling very mystically andglimpsed in the most squalid events some signs again" (Ehrenburg I.Julio Hornito // Ehrenburg I. Complete collected works. Op., V. 1. Moscow - Leningrad, 1928. P.8).Himself Julio Hornito appears in the cafe "Rotonda" (by the way, this cafeEhrenburg he has devoted many pages of his memoirs) in the spiritfuture of Bulgakov's texts -- with a completely transparent allusions to hell."Really, it was worth a closer look at the newcomer to understanda definite purpose and of a mysterious bowler hat and wide coat. Abovetemples clearly were under the curls cool horns, and coats triedto cover up the sharp, aggressively raised tail"
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