Performances room furnishings combined with the chosen narrative structure consists of a unique, su

New Hall of the National Theatre director Inara Sluck the show "Lost Time quote" the viewer into the interspace. The place where the 20th century, the golden age of Hollywood's storage cabinets dark side - film noir - disembark from the screen, and a work of art creators imagination when we meet with the audience's imagination, reality converge, theater and cinema border.
The show is not just a film noir elegant storage cabinets reference, storage cabinets since the past century, some 90 years his films tend to use such directors as David Lynch and Quentin Tarantino, or colorful aesthetics, as can be seen Rodriguez Filmer "Sin City." "Lost Time quote" acts as a time machine, accurately reproducing the mid-20th century, film noir world of weird and evocative able to be a single woman's gaze, men's inner world marred by dark secrets, but the lighting and sound interplay reveals the mystical mood of the film.
Sluck nostalgic citations storage cabinets could be described as a skilled and delicate shown time pastis, and is based on 50 years of the past century, the American film noir classics - a filmstrip "Lonely Place", the story of a scriptwriter special relationship with his creative works, supplemented with mild intrigue and Crime style of belonging, a tragic romance. "Lost Time quote" is used not only the backbone of the film script, but also a considerable part of the dialogue. Moreover, due to particular performances and stage design concept, which occupies a place in the center of the screen storage cabinets can also talk about the film shows the assembly and the scene citations. With the participation of the National storage cabinets Theatre actors pārfilmētie film fragments that occasionally comes to life on the canvas taut surfaces are meticulously worked itemized accurate reference for the original distinguishes as the 21st century digital video "smooth" image with no films of the 50s and a little shabby charming graininess.
Kristine Abiko set design serves as a natural continuation of cinema visible to the world. Performances scenery appears well over 50 shades of gray. Black and white gray withheld actors costumes and even fruits. Furnishing based peculiar contrast - manly, full bodied dark gray covers central hero, depressive scriptwriter Mark Veidlera (Kaspar Zvīgulis), home furniture, but on the opposite side walls of the living light "angel" - tells the femme fatale Gilda Raita (League Zeļģe). Scenogrāfiskā approach to theater environment makes for a smooth continuation of the on-screen cinema. In addition, storage cabinets the black and white aesthetics are just as dense, so that sometimes even forget that the actors' faces in the scene does not scratch the greyish video filter.
Performances room furnishings combined with the chosen narrative structure consists of a unique, surreal environment. storage cabinets It appears all the film noir highlights of original drama linear story spinning until the end of the show šķetināmā storage cabinets mystery. storage cabinets On screen the observed reality is broken and thus the actors entering the theater hall of the main hero of Mark's memory or a dream form. Sometimes shown video material extends the performance space, showing you where the heroes go to when disappears from sight. Thus, without unnecessary scene reconstructions audience comes to life in a police station or the main heroes inhabited buildings, garden and beach bar. Actors between the two spaces - footage and real - moving freely, playing with performances running time flow. Kaspars Zvīgulis Marks, leaving his apartment, quickly gets on screen, showing the garden, or find themselves in a police detective's office, but at times, he has the presence, video projections reflected in the memory of the evening at the bar. Although the performances of time and space structure is seemingly storage cabinets complex, precision operation of assembling the story easily connects monolithic whole.
Despite the fact that cinema projection provides an opportunity to avoid any scene reconstruction, Inara Sluck however, does not tend to avoid them completely, sympathy reviving a vital element of the film shooting behind the scenes. Wall and furniture shift performances during an evocation of the time when the films were pavilions, where possible storage cabinets within a few seconds beyond recognition into the operating environment, changing a small number of parts. Such cinematic storage cabinets references use is a lively tribute to the golden age of cinema.
The film chosen stylistic elements already in the first "Lost Time quote" minutes a precise association with the grim, existential reflection and death themes permeated, but charming film noir. If the on-screen video perceptible touch of the 21st century, it is hardly noticeable performances of sounds, storage cabinets ranging from Kaspars Zvīgulis talking hypnotic voiceover that introduces the story of the status quo. In addition, as has been customary film noir aesthetics, this voice