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G. Ge left Mozayka theater soon, without having held on and until the end of a season. But it did not prevent it to remain convinced that the idea of theater of miniatures belongs to it - about what it until the end of days and wrote in the unpublished notes.

The theater of miniatures was comprehended by the contemporaries as the system of new type opened extensively deprived of any framework, in the mobility, divisibility, accident, interchangeability making it parts as a form without form. "The miniature genre, - one of observers, - is not limited by any framework, everything will approach: both the small drama, and the vaudeville, both the operetta, and the story in persons, both the household picture, and dances, and a cinema". Troitsk and built the programs.

The theater of miniatures managed to interweave into fabric of the show and receptions of a newborn cinema. The proximity of theater of miniatures and cinema was found in identical structure of the zresh\lishch - flashing fractional, with quickly replaced images.

The Troitsk theater kept up to date. Not only the fashions reigning in art use were a source of inspiration. In statements of scenic knickknacks of which its programs consisted, it was easy to hear also an echo of the ideas which were born in "big art".

Despite different names and genre designations of again arisen theaters, nature of their representations it was surprisingly identical. The program "Young theater" was under construction "of one-act comedies, operas, operettas, the ballet, a pantomime, the dramatized romances and a divertissement". At "Cheerful theater" there were "dramas, operettas, dances, a divertissement". In "De Pari's pavilion" - "short plays, the operetta, the ballet, silhouettes, musical pictures and a divertissement".

The origin of theaters of miniatures occurred on two ways at this time: One theaters opened and headed by actors, before serving in Foundry, Troitsokm and "A curve mirror" where accumulated experience.

The domination would speak a scene of Troitsk theater of overseas names, clothes and landscapes simply if the theater puts works exclusively foreign. But in also put that for theater mainly domestic writers wrote.

Plays which put at theater on Foundry Kazan, translated or domestic, or parodies, were, as a rule, resolutely bad, even when acted as the author of Foundry theater not who other, as Vs. E. Meyerhold. However, having become the author of numerous plays, critics had one more opportunity to reduce scores with Meyerhold.