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Meyerhold on theatre semiotics 89
ReplyDeletethe viewer not a single second was no question why this drama actors
sing and do not say" (There. same.P. 58.).
The rhythm of the music does not match with the rhythm of everyday life:
"Stage rhythm, the whole essence of it-the antithesis of the entity is valid
everyday life" (ibid. P. 62.). Accordingly, the "dance for
our body the same as the music for our feelings: artificially created, do not
turning to the promotion of knowledge form" (ibid. P. 63). The problem
dance very actively studied at the time. (See, for example:
Sung-Davydov M. Contemporary art of dance // Mask. -- 1912-1913.
-- No 5; Borozdina, N. Ancient Egyptian dance. -- M., 1919).
Semiotic ratio multiple channels-auditory and
visual -- was interested in not only V. E. Meyerhold. "I would like
to draw attention to the fact, - writes S. Andrew, -- as this
visual interest helps to listen, and therefore understand music:
the eye becomes an organ of musical perception. Who thought
ratio of the eye and ear and their functions in the perception of art, he will understand
what strengthening of musical impressions should this occur. You
never smelled a flower with an open mouth? -- The sense of smell is doubled. It
same thing-listen to the music, hearing and sight. Eye usually dissipates
the attention of the hearing: who wants to concentrate in music -- closes his eyes. With
the other hand, the eye is much more greedy organ than the ear: see how
the audience listening to the Overture, the whole rushes to the scene when it rises
curtain. Finally, a vision of a more popular ability than
rumor: a sight to interest anyone to the joys of hearing
need a special location or development" (Volkonsky S. Person on
stage. SPb., 1912. P.163).