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Meyerhold on theatre semiotics 89 the viewer not a single second was no question why this drama actorssing 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 valideveryday life" (ibid. P. 62.). Accordingly, the "dance forour body the same as the music for our feelings: artificially created, do notturning to the promotion of knowledge form" (ibid. P. 63). The problemdance 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 andvisual -- was interested in not only V. E. Meyerhold. "I would liketo draw attention to the fact, - writes S. Andrew, -- as thisvisual interest helps to listen, and therefore understand music:the eye becomes an organ of musical perception. Who thoughtratio of the eye and ear and their functions in the perception of art, he will understandwhat strengthening of musical impressions should this occur. Younever smelled a flower with an open mouth? -- The sense of smell is doubled. Itsame thing-listen to the music, hearing and sight. Eye usually dissipatesthe attention of the hearing: who wants to concentrate in music -- closes his eyes. Withthe other hand, the eye is much more greedy organ than the ear: see howthe audience listening to the Overture, the whole rushes to the scene when it risescurtain. Finally, a vision of a more popular ability thanrumor: a sight to interest anyone to the joys of hearingneed a special location or development" (Volkonsky S. Person onstage. SPb., 1912. P.163).
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