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Robbins sourced the pieces from Sophie Millard, a company that provides the jewels for many of her projects, as well as other vintage jewelry suppliers.
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2 comments:
certain conclusions" (The corridor E. Political theater. -- M-, 1934.
P. 52-53). Perhaps a General property of art of transition periods is
returning to the documentary texts, as a steep
revaluation reality, the transition to new models of its interpretation. In the Soviet
history it was "humanizing" the image of Lenin in the sixties,
reinterpretation of historical events in the period of perestroika (cf., for example,
the role this period plays of Mikhail Shatrov, who was clearly out
beyond just theatrical reality).
A. Kuhelj specifies the comparative normalization, considering the theater
and worship, when for the medieval viewer played the legend of
the Magi, the birth of the baby Jesus was "not only a poetic fiction, but
genuine authentic fact. Every divine service, in the end, concludes
an element, important theatre in the highest and true
the value of this concept, and the next departs from the theatre of his great role than
less stays there the remnants of faith" (A. R. KugelApproval
theatre. - M., 1923. P.124).
This is a very important and significant observation including for theatre --
the inclusion in the illusion, which is peculiar to the viewer. Every time
brings up certain options for the relationship with this illusion,
ensuring maximum utilization of it. A. Kuhelj notes on
Bitter: "Bitter is the son of a century, owning a tragic moment; temperament
its modern, i.e. fleeting. One daily press absolutely
enough to make us extremely easy excitability and
need immediate and quick response. All of our psyche requires
incessant irritations and is built on rapid exhaustion experiences. But
the old forms hanging like a heavy old-fashioned armor and make
the artistic temperament of modern writers to force myself
mechanical stretching and spreading the work so that had
fit vintage dress" (Ibid.P. 153-154).
A product of the illusion that is purely semiotic property is
element of skill of the actor: "the talent of the actor is-this property, when
the illusion becomes perfect, when the three of us convinced.The illusion
perfect and is able to assure us, gives not objective actu-
Theatre is a cleansing suffering. Similar to
as the original art form was demonic, devilish dance or
wild song, choking from the Orgy, and now and ever, and unto ages of ages,
the basic need of the soul, seeking art, there are hops oblivion"
(Ibid. P. 28). Hence the coincidence of object theatre, art
and semiotics. "The decline of lies-the decline of art. Art is a lie," --
says A. Kugel (Kugel R. A. Approval of the theatre. -- M.
1923. P. 83). And Umberto Eco just announced the object of the semiotics of the point where
you may experience lies (Eco U. A theory of semiotics. --
Bloomington -- London, 1976).
A characteristic feature of the theatre is multi-channel exposure.
It shrinks the floor, leaving him important but not the only niche
in theatrical communication. A. Kugel talking about stage movement
how about the more important aspect. "Mise en scene gives the viewer the impression, or illusion,
everyday, the real veropedia. But, perhaps more importantly for theater
what is real, stemming from the psychology of individuals and the logic of events, the mise en scene
-- a necessary condition for the correct image actor role.
Fake mise en scene -- a killer for an actor. If he sits, when he
needs to stand, when to sit, etc., he shall surely fake
and in his speech and in the transmission of the image. It is known to everyone how helps
costume play, the actor needs to feel in a dress of the person who
shows" (Ibid. P.69).
Having considered the basic ideas of A. Kugel, can now more clearly
to determine the source of their semiotic orientation. It follows from
a fairly wide view of A. Kugel. in theatre, the mandatory accounting
the role of spectator, actor, Director, and in this regard, the departure from one of them
component as the main -- not only from literary but also from
uncut. Again the theatre is the most semiotical object due to
megastructures inherent in its functioning. The structure
spectator behavior assumes a certain structure acting
behavior. Complex semiotic object generated by the operation of such
synchronized structures. The literary text as an object later,
the classical period of semiotics, represented by the names Yu. Lotmanand
etc., largely built over hierarchically in this structure
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