не... в том то и дело что мне нужна культура в плане театры, искусство, спортивные достижения, праздники 20-40... короче бесполезно, но большое спасибо за помощь!
In the period of the first Republic of Estonia (1918–1940) the theatre network expanded: a professional theatre has been functioning in Viljandi since 1920, in 1931 a professional theatre was opened in Narva. Semi-professional troupes (with a qualified director and four or five actors — the rest being amateurs) continued theatremaking in the small Estonian towns of Võru, Valga and Kuressaare.
Eduard Vilde’s play “The Hobgoblin”
By the inter-war period, realism (with a tendency for exaggerated theatricality) had become the dominant style in Estonian theatre. There were some alternative styles — European innovative thinking brought exprеssionist, impressionist and symbolist influences. Although these experiments found enthusiastic supporters, and some great pieces of world literature were staged, the theatre in its most viable forms appeared in dramatisations of the Estonian literary classics of Anton Hansen Tammsaare and Oskar Luts. This was confirmed by audience surveys, which showed that interest in stage interpretations of Luts's and Tammsaare's works was very high.
Although films were produced in Estonia as early as the beginning of the 20th century, the systematic production of feature films really started after the Second World War when Estonia became a part of the Soviet Union. However, the state studios, later known as Tallinnfilm, at least had something to build on. During the first period of independence (1918–1940), the Estonian Culture Film organisation was also subsidised by the state. The first film studio Estonia-Film went bankrupt in the late 1920s. Various smaller studios were fairly active during the 1920s, producing nationalistic melodramas and comedies with financial support from enthusiastic businessmen. Somewhat paradoxically, the high point in film production was the first decade of independent statehood (after 1932, not a single feature film was made). The 17 films, of which most have survived, give a good overview of the emerging national romantic ideology and mentality. The rather fanciful historical films and melodramas fulfilled their entertaining purpose, but even so it was fairly obvious that the sсriрts were weak, especially seen against the background of the German and American films screened in cinemas. The use of home-made cameras, memories of the rolls of film being developed in a bathtub and dried on a clothesline, speak first of all of a great interest and enthusiasm. Practical skills developed in the process.
In 1930, there was an Estonian-German joint production, Waves of Passion. It was a very topical subject — smuggling spirits between Estonia and Finland. The first sound film made together with Finland, Theodor Luts's Children of the Sun (1932), remained within the borders of the melodrama genre, but taking the action outdoors created quite a stir in Estonian film. Due to the lack of stability in the local film industry, Theodor Luts took up a job with the leading Finnish studio Suomi Filmi where he, after 4 years and 10 films, became the chief cameraman. Estonian Culture Film, established in the 1930s, was closely connected with the state propaganda office, producing newsreels, documentaries of nature and its resources, and life in general. Despite various plans, not a single feature film was made.
All My Lenins
Regardless of political upheavals, these films did have their impact later. Quite a few details and topics re-surfaced in the films of the 1990s. Just like 70 years before, stress was laid on historical films of a slightly nostalgic vein where the main characters are the people who were active during the critical period of the 1930s and 1940s.
The 1919 land reform and, later, the mass emigration of the Baltic German nobility before the Second World War resulted in a large number of abandoned manor house complexes. After the expropriation, many of them became schools, village halls or other types of public institutions. With radical changes in life, the new owners were often unable to take proper care of the manor houses. Some buildings started falling apart already before the 1940s, but it was in the Soviet era that the faded manorial buildings with collapsed roofs became inseparable parts of the Estonian landscape. From 1990 onwards, several wealthier Estonians have bought a manor house for themselves, trying to socially identify with the leading position of the former Baltic Germans
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13.04.2007 в 17:39здесь ничо?
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13.04.2007 в 17:51-
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13.04.2007 в 18:02http://www.iti-worldwide.org/amt/co.../p_ESTONIA.html
вот еще какое-то
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13.04.2007 в 18:05In the period of the first Republic of Estonia (1918–1940) the theatre network expanded: a professional theatre has been functioning in Viljandi since 1920, in 1931 a professional theatre was opened in Narva. Semi-professional troupes (with a qualified director and four or five actors — the rest being amateurs) continued theatremaking in the small Estonian towns of Võru, Valga and Kuressaare.
Eduard Vilde’s play “The Hobgoblin”
By the inter-war period, realism (with a tendency for exaggerated theatricality) had become the dominant style in Estonian theatre. There were some alternative styles — European innovative thinking brought exprеssionist, impressionist and symbolist influences. Although these experiments found enthusiastic supporters, and some great pieces of world literature were staged, the theatre in its most viable forms appeared in dramatisations of the Estonian literary classics of Anton Hansen Tammsaare and Oskar Luts. This was confirmed by audience surveys, which showed that interest in stage interpretations of Luts's and Tammsaare's works was very high.
Although films were produced in Estonia as early as the beginning of the 20th century, the systematic production of feature films really started after the Second World War when Estonia became a part of the Soviet Union. However, the state studios, later known as Tallinnfilm, at least had something to build on. During the first period of independence (1918–1940), the Estonian Culture Film organisation was also subsidised by the state. The first film studio Estonia-Film went bankrupt in the late 1920s. Various smaller studios were fairly active during the 1920s, producing nationalistic melodramas and comedies with financial support from enthusiastic businessmen. Somewhat paradoxically, the high point in film production was the first decade of independent statehood (after 1932, not a single feature film was made). The 17 films, of which most have survived, give a good overview of the emerging national romantic ideology and mentality. The rather fanciful historical films and melodramas fulfilled their entertaining purpose, but even so it was fairly obvious that the sсriрts were weak, especially seen against the background of the German and American films screened in cinemas. The use of home-made cameras, memories of the rolls of film being developed in a bathtub and dried on a clothesline, speak first of all of a great interest and enthusiasm. Practical skills developed in the process.
In 1930, there was an Estonian-German joint production, Waves of Passion. It was a very topical subject — smuggling spirits between Estonia and Finland. The first sound film made together with Finland, Theodor Luts's Children of the Sun (1932), remained within the borders of the melodrama genre, but taking the action outdoors created quite a stir in Estonian film. Due to the lack of stability in the local film industry, Theodor Luts took up a job with the leading Finnish studio Suomi Filmi where he, after 4 years and 10 films, became the chief cameraman. Estonian Culture Film, established in the 1930s, was closely connected with the state propaganda office, producing newsreels, documentaries of nature and its resources, and life in general. Despite various plans, not a single feature film was made.
All My Lenins
Regardless of political upheavals, these films did have their impact later. Quite a few details and topics re-surfaced in the films of the 1990s. Just like 70 years before, stress was laid on historical films of a slightly nostalgic vein where the main characters are the people who were active during the critical period of the 1930s and 1940s.
The 1919 land reform and, later, the mass emigration of the Baltic German nobility before the Second World War resulted in a large number of abandoned manor house complexes. After the expropriation, many of them became schools, village halls or other types of public institutions. With radical changes in life, the new owners were often unable to take proper care of the manor houses. Some buildings started falling apart already before the 1940s, but it was in the Soviet era that the faded manorial buildings with collapsed roofs became inseparable parts of the Estonian landscape. From 1990 onwards, several wealthier Estonians have bought a manor house for themselves, trying to socially identify with the leading position of the former Baltic Germans
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13.04.2007 в 18:07прикооольно!
Только вот теперь все это только на русском
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13.04.2007 в 18:09ваа, применяй знания языка, полученные от чтения спойлеров *мерзкий смех*
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13.04.2007 в 18:27( реферат мне лень переводить, а в спойлерах я каждое незнакомое слово в словаре найду
неправильные у меня ценности какие-то