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creates special "medieval atmosphere", as if introducingthe modern viewer in a particular system then feelings and helping himto look at the scene through her eyes" (Kazan B. V. Method of theatre (Analysissystem N.Evreinov). - L., 1925. P.104). At the same time on different pages of numerous books N. Evreinovscattered clear semiotic formulations of many important problems and futurethe. Try to list at least some of them. The problem of deautomatization as the purpose of art, then deployedV. B. Shklovsky and further Iurii Lotman: "To return the interest to the boring subject, it is necessary to approachhim new eyes for him. We need an act of transformation not of the subject, and wethemselves in relation to it. To understand this, means to find the key to manyjoyful transformations around us. So, to find the "magic wand"(Evreinov N. N. Theatre for himself. -- Part 3. P.177). Semiotics of costume: "I insist on the fact that the initial suit is primarilycorporal mask, and then the decoration or protection from the harsh temperaturerain, dust, etc physical mask!.. And not for nothing that the monks calledthrough firmware on dresses medieval serenic "clicks of the devil" --"trous du diable". As it is psychologically true, aptly and wittily! Nearpsychology of the mask can be put, in my opinion, only one factor costume:sexual a tendency to set off and emphasize the seductive detailsyour addition. Covered at first only part of the body; and not so much exactlyfor the sake of "intrigue", as for the exciting contrast between the covered andnaked in color and form, for example, matte tone robes next toshiny skin and Vice versa shiny glitter ornaments beside Mattskin, thin, squeezed by fabric waist near naked full bust andetc." (Ibid. P.163).
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