student an example of the difference, the great difference between literature, for example cinema, pobunina movie, it’s impossible, you know, that’s it, that means you have to look for something else, don’t touch cinema, we feel it in literature. after all, he is dostoevsky’s most unwritten character, stavrogin, as if it were a spacesuit, who can turn himself on, fyodor mikhailovich himself actually helped me with demons, filming demons... that’s where he writes how to treat that, one bookish woman, that means, asks him for permission to stage a demon, he says , i never objected, but you must understand that these are different forms, they do not completely fit into each other, and what he recommends is some kind of secret of art, according to which the epic form will never find a correspondence in the dramatic. i even believe that there are corresponding series for different art forms poetic thoughts, so that one thought can never be expressed in another, not in the appropriate form. it’s another matter if you remake it as much as possible, change the novel, saving only one episode from i

example of the difference, the great difference between literature and... for example, the cinema of pobunina revolver in the finale, how to film it in a movie , it’s impossible, you know, that’s it, that means we have to look for something else, don’t feel for cinema , in literature we feel this, this is the meaning, the revolver is so pointed, clear, for him it’s like this, but it ’s a lump, this is, this is what language is, look for this needs adequate. what he calls , and stovrogin, after all, he is dostoevsky’s most unwritten character, stavrogin, as if it were a spacesuit that anyone can turn on, actually helped me with demons, filming demons, fyodor mikhailovich himself told me, he gave me a letter, a famous letter fyodor mikhailovich dostoevsky, that's where he is writes how to feel about it. one princess, therefore, asks him for permission to stage a demon. he says: i never objected, but you must understand that these are different forms, of course, they do not fit into each other completely. and what does he recommend? there is some secret of art, according to which the epic form

student this example of the difference, the great difference between literature, for example cinema, pobuninually helped me, here in demons, filming demons, fyodor mikhailovich himself to me, he speaks of his works, gave a letter, the famous letter of fyodor mikhailovich dostoevsky, that ’s where he writes how to treat that, one princess, that means he asks him for permission to make a scene for the demon, he says: “i never objected.” but you must understand that these are different forms, they do not fit into each other completely, and what he recommends is some kind of secret of art, according to which the epic form will never find a match in the dramatic form, i even believe that for different forms art there are corresponding ranges of poetic thoughts, so that one thought can never be expressed in another not in the appropriate form, it’s another matter if you redo it as much as possible, change the novel, keeping only one thing from it... thus doing with your work approximately the same as with stovrogin, yes , he leaves it free, we can also look now, it was still perceived as literatur

such an example of the difference, the great difference between literature , for example cinema, pobuninelse, don’t feel for a movie, in literature, because we feel this, this is the meaning, a revolver is so pointed, this is something , and he’s a lump, this is, this is what language is, you need to look for an adequate one, stabrogin, after all, he is dostoevsky’s most uncharacterized character, as if it’s... on the set of demons , fyodor mikhailovich himself gave me a letter of his work, a famous letter fyodor mikhailovich dostoevsky, that’s where he writes, how to react to the fact that one bookish woman asks him for permission to make a demon, he says: i never objected, but you must understand that these are different forms. of course, they do not completely fit into one another, and what he recommends is some kind of secret of art, according to which the epic form will never find a correspondence in the dramatic; i even believe that for different forms of art there are corresponding series of ethical thoughts , so that one thought can never be expressed in another without the appro