Êíèãè-èãðû â Ðîññèè

No wonder it was in France that the creative principle "L'art pour l'art"was formulated. Charles Baudelaire argued that, of course, art can elevate a person above the circle of ordinary interests, soften hearts and ennoble mores, but if the need for creativity is not a fundamental incentive, it weakens the power of creativity. Because a person should be ready to work without return and visible benefit.

Skald a écrit:

Because a person should be ready to work without return and visible benefit.

That's my definition of a real artist.

In fact, I see that the book-game in a modern form can be served in the format of the avant-garde. Fortunately "Gallimard" at the time happily published Andre Breton, Boris Viana, Philip Supo, Jean prevera, Rene Krevel, Robert Desnos and other Surrealists, Dadaists and so on, and later willingly published books-games. The public could accept that.

To be honest, I am not very found of the Surrealists and "avant-garde" style, I am very classical (between the Ancients and the Moderns, I am in the Ancients team (laugh)). Even if I still appreciate the energy and the creativity of such artists, like for example, the artists of Vienna 1900, Klimt and the others "secessionists". I am not always in mood for their work but I understand and appreciate their approach.

Art exists in a variety and in its wide palette there is a place for different tones and shades. Art is the universal language of mankind. If everyone wrote only one or only the other, it would greatly impoverish the world cultural heritage. Naturally, I do not claim that this style should be the only right one for everyone, but I believe that the authors have the right and freedom to create in this direction)

Of course, everyone has his own definition and concept of art and beauty. Some will find this painting beautiful, consider this poem, song or statue as a masterpiece and others will find it awful or without any interest.
I think an artist is above all these considerations. A real artist must interest himself in everything, try everything to find his way, his own style. But, even after fouding himself, it's good to stay open to other things, other works. An artist must stay curious, open-minded and always have a look on different roads even if he's not going to take these roads.

Naturally. If something is beautiful and does not bring harm to anyone, it has the right to life for this reason. And passion for something does not imply a negative attitude to the rest. For example, Pavarotti was primarily a classical Opera singer, but he periodically holds joint performances with his friends, performing pop hits, hard rock and other songs.

That's what I like. Some artists trying other things, often surprising people, especially in music. Freddie Mercury was rock and, at the same time, found of opera… Iggy Pop is rock and at the same time, loves french music, he has made an album in witch he sings old and classical french songs, in french… David Bowie was interested in everything, trying everything. Sometimes it was good, sometimes it was bad but he did. You can find artists like this in New Age music for example Dead Can Dance or Loreena McKennitt : their music has several influences, coming from all other the world, they play with all these influences and mix them, like the ingredients of a good recipe.

I like original people, trying something different, in their art, their attitude or way of life, away from the herd, the masses. Free in fact.

Actually, in this regard, I have always been interested in such a composer as Eric Sati: the founder of musical impressionism, minimalism and the mass of other avant-garde movements. He was in the currents of humiston, Dadaists, was associated with the Surrealists, headed the famous "Five". At the same time, he was not the most pleasant person in communication, but he did a lot for close friends and for the world art. He could write the score without specifying many nuances, leaving them to the discretion and interpretation of the musician. He could include in the performance, instead of the usual musical instruments, the Moo of a cow, the firing of a revolver and the blows of a typewriter. He invented (in the XIX century) the so - called" furniture music "(unobtrusive melody that plays in a closed cycle in shops and exhibitions) - then it was not appreciated, and he said:"I was born too young in too old a time." One of his melodies plays several days in a row (they set up an experiment, the musicians succeeded each other at the piano, the audience changed in the hall, but the game was not interrupted). And his "Funeral March to the death of the great deaf" (Beethoven) is an empty score)

I like Sati, but more his approach than his music, most of the time. I appreciate his sensibility but it's not really my kind of music.
In classical music, I appreciate epic and "flamboyant" one, like Carl orff, Prokofiev, Beethoven, Wagner, Katchaturian, all the russian composers of the XIX century, especially Tchaïkovsky, my favorite one.
I must be too Romantic (in the first sense of the word)...

I love Verdi, Puccini, Dargomyzhsky. In principle, all Opera composers. From non-Opera, for example, Jan Sibelius. But especially I respect Antonio Salieri: it was a totally unique person, an extremely talented, honest, extraordinary, and unjust watered with dirt after death. The ridiculous fairy tale about "Mozart's murderer" was very tenacious.

Well, it's the fault of Amadeus movie (laugh) !
Salieri was above all that bullshit and, at the time, he was more famous and celebrated than Mozart.

In opera, I love certain moments more than the all play. "the Madness aria" from Lucie of Lammermoor, the "Queen of the night aria" in the magic flute, 'Nessun dorma" from Turandot, "la donna è mobile" from Rigoletto...

During his lifetime Salieri had recognition on a global scale. His father (also Antonio Salieri), as far as I know, was a seller of sausages, the family had fourteen children, life was hard. While Salieri in twenty years has become Kapellmeister, retained the position under three emperors, his works were staged by conductors in other countries (which was unusual, but he was deeply respected). He was a student of Gluck, whom he loved very much, and a teacher of Liszt, Schubert, Beethoven and many other great composers. He knew many things. One of the first began to hold charity concerts in the open air. But in Austria, so he could not forgive the fact that he, an Italian, took such a high status, despite the fact that the Italian practically lived all his life in Austria. He had such great operas as "Cave Tropone", "Tarare", "Liberated Europe", "Danae". At the same time, even his humor has always been associated with deep thoughts. His close friend was Beaumarchais, and in the production of "the marriage of Figaro" Beaumarchais said that only brought words to the great music, and Salieri, that just wrote the music to the brilliant play.

I love the Aria of Calaf, Cavaradossi, Radames, Nemorino, Federico, Azucena's Aria, the chorus of many operas by Verdi, couplets of Mephistopheles.

If you are interested, I can send you an e-mail with some of my short stories translated into English. Maybe you'll like something)

It would be nice.
I sent you a private message with my mail adress.

Yet the message has not appeared. Am I looking over there?

It's done, I've just wrote it.
You might have a signal "new message" in red, under the banner, at the top of your page.

Thank you! Dropped works on mail)

Voyageur Solitaire a écrit:

You speak German cdang ?

Yep, it's my first foreign language. Unfortunately, I don't have the opportunity to practice so I'm quite uncomfortable with it.

For the time being, I'm translating a chapter talking about business and legal stuff in the fantasy world of Aventuria and it's a real pain in the ass!

By the way, there is a community of fans of book games in Germany. Maybe you should write to them for practice? I once watched their books-games, quite interesting. Here is the website of the German publisher, producing books games http://www.manti-con.de/

When we started to translate the beta version of Das Schwarze Auge 5, I used to post some questions on DSAForum (DSA4.de at this time). Unfortunately, I've no time for this.

My boss is angry about me because I was spending too much time on the Web (especially writting on Wikipedia), there's a penalty pending (I won't probably not be fired but it's not out of topic )… So I have my two feet on the brake pedal for the forums

C'est la vie.

Yesterday I finished a new book-a game from the cycle "sea tales", dedicated to the Navy of the XVI century. There were books about the Mediterranean, the middle East, Asia, and this - about Northern Europe and Greenland) will Publish in the near future. In the Italian community, I found a man who since childhood speaks Russian, Italian and English (as I understand it, he moved to Italy after the collapse of the USSR), who agreed to help translate books-games. I asked him to first translate not to Italian, but to English, specifically to convey the translation to your community) this is interesting: Italians tell that as far as they know no book-the game has not yet been translated from Italian into other languages, and although they have a favorite foreign series (for example, Lone Wolf), they love their national.

Hi guys! What's up? I recently wrote another book-game. In General, the year was fruitful in terms of creativity. Today I counted how many works I have placed on various resources during this year: 75 officially published, and if you count a couple of things rejected by the publishing house - 77. As small works, and huge. Now if only all this is yet to translate)

77 ?! Hell…

Don't panic! It's not just books-games. These are novels, stories, non-fiction books, collections, translations, and poems, in General, many different things. But yeah, the year went out a lot.