time in 600 Files directory : time-as-matter (movies)
... sample from Tarkovsky "Sculpturing in Time" : postmodern sense of Time...
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[...] If waiting is the play’s action, Time is its subject. Godot is not Time, but he is associated with it—the one who makes but does not keep appointments. (An impish thought occurs: Perhaps Godot passes time with Gogo/Didi just as they pass it with him. Within this scheme, Godot has nothing to do [as the Boy tells Didi in Act Two] and uses the whole play as a diversion in his day. Thus the "big game" is a strict analogy of the many "small games" that make the play.) The basic rhythm of the play is habit interrupted by memory, memory obliterated by games. Why do Gogo/Didi play? In order to deaden their sense of waiting. Waiting is a "waiting for" and it is precisely this that they wish to forget. One may say that "waiting" is the larger connect within which "passing time" by playing games is a sub-system, protecting them from the sense that they are waiting. They confront Time (i.e.., are conscious of Godot) only when there is a break in the game and they "know" and "feel" that they are waiting.
Richard Schechner Godotology: There's lots of time in Godot from Frederick J Marker and Christopher Innes "Modernism in European Drama: Ibsen, Strindberg, Pirandello, Beckett"
2005 & After
Different sense of time in different period.
... CU of Time : unities and PoMO drama
... Subjective Time and Historical Time
Time in Godot = character?
Time in R & G are Dead: pomo.vtheatre.net.
... Self and Existential
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2006 - 2007 - 2008 R/G are Dead
see topics.txt for now : 2008-2009 filmplus.org/600 -- bad theories, wrong subjects
Film-North * Anatoly Antohin.
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Return. Zvaygintzev :
'"The Return," a breathtakingly austere masterpiece from the land that gave us Eisenstein, Pudovkin and Tarkovsky, is one of the most beautifully acted and directed films I have seen in years. Astonishingly enough, this is the feature film debut for director Andrei Zvyagintsev who demonstrates more of a mastery and command of the medium in this his maiden effort than most directors do in a whole body of work.
The film tells the tale of two brothers, Ivan and Andrei, who live with their mother and grandmother in a small coastal village in Russia. One day, totally unexpectedly, the boys' father returns after a twelve-year absence. In an effort to make up for lost time, the dad decides to take his sons on a fishing trip, but, almost immediately, he begins to demonstrate disturbing tendencies towards domination and abuse. He also appears to be up to some sort of nefarious business operations to which neither we nor the boys are entirely privy.
Every single moment of this film is a revelation. Zvyagintsev beautifully captures the opposite ways in which the boys react to and interact with their father. Andrei, the oldest, is so desperate for a father figure in his life that he is willing to overlook the often inexplicable, bizarre and possibly even dangerous behavior that this particular father exhibits. Ivan, on the other hand, embittered by years of absence and neglect, seethes with barely disguised rage at the man who now presumes to enter into their once happy lives and assert his authority. Of the two boys, he seems the most tuned into the kind of threat the father may pose to their welfare. Yet, towards the end of the story, the apparently latent love the boy feels for this man as his father does eventually rise to the surface. Through this intense interaction, the film emerges as a complex and profound study of what father and son relationships are really all about.
It is virtually impossible to put into words just how brilliantly the two young actors use their facial expressions to convey a wealth of meaning and emotion. As portrayed by Vladimir Garin, Andrey looks up to his father with a mixture of boyish pride and trembling awe, longing for the kind of male affirmation he has been deprived of all these years. He is desperate to please his father by proving to him that he can perform the acts of manhood that his dad keeps putting forth for him to do. As Ivan, Ivan Dobronravov spends most of his time glaring at the man, his mouth pursed in a tight unyielding grimace of resentment and hate. If I could give an award for the best performance by a child actor in movie history, these two youngsters would be high on my list of candidates. They are that amazing. Tragically, young Garin drowned two months prior to the release of the film, leaving his indelible mark behind in a performance that will never be forgotten by anyone privileged enough to witness it. Konstantin Lavronenko is equally impressive as the boy's mysterious father, beautifully underplaying the part of a man who can appear sane and rational on the surface but who is a seething cauldron of untapped emotions beneath. In fact, it is this constant threat of violence always on the verge of eruption that keeps us off balance and on edge throughout the entire picture... to be continued.