actors, because there are wonderful actors, and there are super, there was some case when marlon brondoolivier, these are two giants, but young brondo , who attended the stanislavsky school in new york, when asked how for you... everything works out, he answered ser laurence olivier, a genius, representative of the school of experience of konstantin stanislavsky , well, what laurence olivier answered, and i don’t really know how swear words sound in english, well, it’s roughly clear, that’s it it doesn’t matter, well , yes, and when brondo asked him, how do you manage everything? he said, you have to be good at pretending, that’s all. look , the popular opinion is a cliché, not mine, that taganka is not very stanislavsky, even, perhaps, quite the opposite, yes or what, after all, what kind of theater was this, then, petrovich, you always find yourself in a complex topic , which makes you tempted to go aside just about this and talk, well, a little, but it’s still important to open it up if anyone laughs - he will say, productions and theater of experience and theater of performance, thi

english , i don’t really know, well, it’s roughly clear, it doesn’t matter, well, yes , but when brondo, yes or whatever, after all, this is what kind of theater it was, then , dmitry petrovich, you always find yourself in a complex topic that makes you tempted to go aside, just talk about it, well, a little, well it’s still important to open this up, if the place says , there is a contrast, both the theater of experience and the theater of presentation, here the theater... experience is stanislavsky’s theater, the actor must penetrate inside the image, must shelter... himself, feel like this a person, there inside, to grow in oneself, what is there, uh-huh, and the theater of performance turned out to be stronger in modern times, uh-huh, and if only because one way or another, but in its best manifestations, it is a combination of experience and presentation, therefore brecht, therefore mayakovsky, therefore. yes, to go from the internal to the external, this is stanislavsky, to go from the external to the internal, this is vakhtangov, stanislavsky’s favorite student, this is how they

actors, because there are wonderful actors, and there are super, there was some case when marlon brondoh stanislavsky’s school in new york, when asked how you do it all, he answered sir laurence, olivier , a genius of all times, i am a representative of the school of experience of konstantin stanislavsky, that ’s what laurence answered. levier and how swear words sound in english, i don’t really know, well, it’s roughly understandable, it doesn’t matter, well, yes, and when brondo asked him, how do you manage to do everything, he said: you have to be good at pretending, that’s all, well, look , after all , the popular opinion is not my stamp, that taganka is not very stanislavsky, even maybe even quite the opposite, yes or how, after all, this is... what kind of theater was petrovich at that time, you always find yourself in a complex topic that makes you tempted to go aside just about this and talk, well, a little, but it’s still important to open this up if he says, there is a contrast, the theater of experience and the theater of presentation, this is the theater of experience, this

brondo asked him, how do you manage everything, he said, you have to do well be able to pretend, thatn is a cliché, not mine, that taganka is not very stanislavsky, even , perhaps, quite the opposite, yes or whatever, after all, this is what kind of theater it was then, then petrovich, you always find yourself in a difficult topic, which makes you tempted to go aside and only talk about it, well a little bit, but it’s still important to open this up, if someone dares to say, there is a contrast, the theater of experience and the theater of presentation, this is the theater of experience, this is stanislavsky’s theater, the actor must penetrate inside the image, must shelter himself, feel himself by this person, there inside... and the performance theater turned out to be stronger in modern times, yeah, and if only because one way or another, but in its best manifestations, it is a connection, an experience and a performance, therefore brecht, therefore mayakovsky, therefore external yeah go from internal to external, this is stanislavsky, going from external to internal, this is vakht

, at one time he acted exactly the same way and looked like i’ve already mentioned. and me marlon brondoi think that borisov will have the same wonderful fate, and there is a concept, cultural cinema, which means something completely different from the tv channel culture is a cinema in which producers know their predecessors very well, quote them very competently and very implicitly, complement them in some ways, a cinema in which everything... pauses are full, all the lines are in place, all the actors are doing their job, there are no random characters. perhaps, in the film there is only one random passenger who turns up, so that the viewer, having felt that all the guns are firing, does not begin to calculate all the people who appear in the frame, what relation they have to the further intrigue. ah, it’s very well designed, targeting a variety of categories of viewers, while at the first viewing the film looks like just a film about just a taxi driver driving around moscow at night in a yellow premium car. as often happens in such cases, you even want to rewatch the film more than on

fangs, i once upon a time acted exactly the same way and looked like the already mentioned marlon brondo crazy or not, i think that borisov will have the same wonderful fate, there is a concept, cultural cinema, which means something completely different from the tv channel culture, it’s cinema in which the producers know their predecessors very well, very they competently quote them very implicitly, complement them in some ways, a movie in which all the pauses are full, all the lines are in place, all the actors are doing their job , there are no random characters, perhaps in the film there is only one random passenger who turns up, so that the viewer, feeling that all the guns were firing, did not calculate all the people who appeared in the frame and what they had to do with the further intrigue. very well designed, targeting a variety of categories of viewers, while the film at the initial viewing looks like just a film about a simple taxi driver who cuts through moscow at night in a yellow premium car. as often happens in such cases, you even want to rewatch the film more than once

once upon a time, the already mentioned marlon brondo acted and looked exactly the same , and even manyltural cinema, which means something completely different from the culture tv channel, it is a cinema in which the producers: know their predecessors very well, quote them very competently and very implicitly, complement them in some ways, a film in which all the pauses are full, all the lines are in place, all the actors do their there are no random characters , perhaps, in the film there is only one random passenger who turned up, so that the viewer, having felt that all the guns were shooting, did not begin to count all the people who appeared in the frame, what attitude. they have to further intrigue. very well calculated targeting a variety of categories of viewers, while the film at the initial viewing looks like just a film about a simple taxi driver who cuts through moscow at night in a yellow premium car. as often happens in such cases, you even want to rewatch the film more than once in search of inconsistencies , some kind of seams, and so on, but in general you can rewatch

desire was nothing on the brondo, on which, in fact, the film a streetcar of desire was based.n 1977, it was a turning point year for american cinema and all world cinema, because - that year the film star wars was released, it was also nominated for an oscar only for special effects, and all producers, all film makers in the world felt completely it is clear that it is much more profitable to invest money in making films for stupid teenagers than for... intelligent adults, today films for stupid teenagers occupy approximately 95-97% of the world screen, so that apparently this situation is irreversible, the great russian philosopher sanyev, a month before his death in 2006, said that gadgetized humanity is irreversibly becoming stupid, scarcez would probably agree with this, in the nineties he made a documentary film traveling with martin from corseze through american cinema, therefore knows very well where american cinema began and where it has ended now. perhaps he is still working in cinema until he is now eighty years old because there are no more adults left in americanog

this film, but i have... now i definitely want to watch it and find out what kind of watch marlon brondoonclusions i made while this video was playing , which of course, in such oversized jewelry is not looks like you need a fitted , sophisticated feminine silhouette, by the way, this will be discussed in our next story , emphasizing the waist and making it your advantage is easy, a fitted silhouette in clothes accentuates the... image, this is a great alternative for those who are bored with oversized. a thin waist for women has almost always been in fashion from ancient times to the present day. for several centuries this was achieved with the help of special underwear - the fashion of the corset was preserved in antiquity. to hide the redundancy of their forms, the girls wrapped them tightly cover your body with strips of thick linen fabric; if you want a slim silhouette in our time, you can resort to shapewear. to create a romantic look, pay attention to the following options: shortened length, accentuated feminine silhouette and demonstration of beautiful legs, fitted dress to the f

is not entirely clear whether he is a man or not, once upon a time it was exactly like that marlon brondolready mentioned, acted and looked like, and even many years after his death people don’t understand whether he’s crazy or not, but i think that borisov will have the same wonderful fate, and there is a concept, cultural cinema, which means not at all that the tv channel is culture, but this is cinema, in which they know their predecessors very well, quote them very competently and very implicitly, complement them in some ways, a movie in which all the pauses are full, all the lines are in place, all the actors do their job and there are no random characters, perhaps there is only one random character in the film, a passenger who turned up, so that the viewer, having felt that all the guns were firing, would not begin to calculate all the people who appeared in the frame, what relation they have to the further intrigue. very well designed, targeting a variety of audience categories, while upon initial viewing, the picture looks like just a film about a simple taxi driver driving around

named desire, the only person who did not receive anything for a streetcar named desire was marlon brondosolutely clear to the world's filmmakers that it is much more profitable to invest money in making films for stupid teenagers than for intelligent adults; today, films for stupid teenagers occupy approximately 95-97 of the world's screens, and so, apparently, this situation is irreversible, the great russian philosopher sanyev, for a month before his death in 2006, he said that gadgetized humanity is irreversibly becoming stupid, scars would probably agree with this, in the nineties he made a documentary film journey with martin from punishment cell to american cinema, therefore he knows very well where american cinema began and where it has now ended, perhaps he... is why he works in cinema until today, 80 years old, because there are no more adults left in american cinema, except perhaps ninety-three-year-old clients, who also continues to work against the backdrop of the battle for the white house between eighty-year-old biden and seventy-year-old trump, who in turn is carried to th

hunter for a streetcar named desire and the only person who didn't for tram desire nothing was marlon brondoated for an oscar only for special effects , it became absolutely clear to all producers, all film makers in the world that it is much more profitable to invest money making films for stupid teenagers than for reasonable adults, today films for stupid teenagers are 95-97% world screen, so, apparently, this situation is irreversible, the great russian philosopher sanev, a month before his death in 2006, said that gadgetized humanity is irreversibly becoming stupid, scarce would probably agree with this, in the nineties he made a documentary film journey with martin scorsese in american cinema, so he knows very well where american cinema began and where it has now ended, perhaps that’s why he ’s been working in cinema until he’s now 80 years old, because there aren’t more adults left in american cinemas, is it? that the ninety-three-year-old is being clinched, who also continues to work against the backdrop of the battle for the white house, between the eighty-year-old biden and the seve