Y. Lyubomirski characterizes
him as such [1931]:
Nuger's unjustifiable action
in the play with opposition (for example with the
umbrella) is truly a Kuni Leml--he is slovenly. This
slovenliness is present, actually, as an essential
characteristic of Kuni Leml, though what is lacking is
the sense of moderation. For example, we see this in the
play with the little egg and the salt, etc. The same
occurs in the scene where he arrives appearing with the
item, is too long. (The director) had a great influence
upon the formation of Nuger's theatrical principles. At
the same time Nuger does not lose his critical attitude
in a string of moments in Norvid's directorship. Nuger
inherited from Norvid the principles of circumstantial
theatre. He said, "I love playing with a bang, making a
theatrical movement from a word, jumping together with
the same word, from one syllable to the other." And
what's more, "Graphically aspiring through a sharper
portrayal and by gesture, posing the innermost straight
edge of the plot."
Certainly, take a look at
the scene of the merchants in "Zagmuk," when they are
talking with one another about the presentation of the
central figure. Here we see Avimelekh-Nuger. It appears
that he does this with his hand, holding onto a stick,
and with what kind of violent expression he brings out
with each word. Then you will understand the true
meaning of his aforementioned expression. Nuger possess
a rich arsenal of methods for the genres where the peak
moments were built upon eccentricities. Nuger has a bent
towards a greater idea, to hyperbole. |
|
|