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From the point of view of Trnka's creative career, Old Czech Legends represents a fundamental metamorphosis in his work. This change was manifested most expressively in the puppets themselves. In comparison with Spalícłek , The Emperor's Nightingale , and Bajaja , whose common trait was fragility and charm, the puppets in the Legends are monumentally dramatic and tragic, more individualized; their countenance expresses their character, the inner essence of the represented person. Another radical innovation was the breaking of unity between the music and the picture because, in this film, Trnka's puppets speak for the first time. Václav Trojan's music does not lose its importance but it is incorporated into the overall sound design including dialogue and sound effects.
The stories in Old Czech Legends combine to form a total composition. The majestic arrival of Patriarch Czech is followed by the struggle of Bivoj with a wild boar; the epic about Prłemysl has lyrical passages, the Young Women's War a capricious, almost erotic mood. The dramatic narrative about Horymír is remarkable for its crowd scenes and its conclusion in which Horymír jumps over the Moldau River. The most remarkable is probably the last episode of the Legends, the narrative about the cowardly Duke Neklan, who must be replaced in the war by a people's hero, Cestmír. The characterization of Neklan pushes the puppet movie to its farthest limits in expressing psychological attitudes. In his monograph about Trnka, Jaroslav Boček describes it as an extraordinary study of cowardice which we can only rarely find even in a movie with human actors. The second part of the story—Cestmír's battle with the Lukanians—is remarkable from another point of view. Trnka used from 70 to 100 puppets in battle scenes. Control of such a multitude of inanimate actors was, from the artistic and technical standpoint, an unusually demanding task, unthinkable in a puppet movie until then. Moreover, Trnka found, jointly with his animators, the precise shade of dramatic mood and rhythm, so that the movements of the crowd were harmonious.
The Legends occupy an important place in Trnka's extensive work. Trnka discovered here a new style of puppet movie, characterized by a transition from lyricism to drama and by the depiction of an individualized, psychologically conditioned hero. That this new style had the potential for further development was demonstrated by Trnka's subsequent puppet movies The Good Soldier Svejk and The Dream of the Night of St. John .
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