Typical actor roles. Characteristic actor

In the section on the question what does the characteristic actor mean? Posted by the author Alira. The best answer is Characteristic actor, actor, acting, marked pronounced class, domestic external and internal originality. Rejected as an amplua of a realistic school of scenic art, the concept of a characteristic actor in the modern theater is applied only to emphasize the dominant feature of the creative individuality of the actor.
In 18 V. They distinguished the actors who played characteristic and semi-accelerated (Demi-Caractere) roles in the comedies, blessing dramas and melodramas (the tragedy required an elevated-distracted, unstarted game manner). Among the largest Russians X. a. The end of 18 - beginning. 19 centuries. - A. M. Krutitsky, S. N. Sandunov, A. E. Ponomarev, A. A. Pomerantsev and others. Development of realistic. Trends in Europe. T-RE 19 V. He led to the need to set any character in touch with the medium, epoch, societies, life. Actors, striving for art. True, I was looking for in all the types of social, saint-rich in them. , household specificity. M. S. Shchepkin is characteristic of the tragedy role of Baron ("stingy knight" Pushkin), V. V. Samoilov - in the role of King Lira, L. P. Nikulina-to Ositskaya - as Katerina ("Thunderstorm"). In all these cases, the characterity was not only external, but also internal: she stained the psychology of the character, his aspirations and feelings. A. E. Martynov in the "characteristic" role of Tikhon ("Thunderstorm") and P. M. Sadovsky in the role of Mother Tor-Tsova ("Poverty is not a vice") and others went beyond the scope of this role, deepened their game to tragic. Sound. Realism, in fact, eliminated the amplua, and in this sense K. S. Stanislavsky said that the characterity should be present in each image, including - Heroy, lover. The concept of X. a. Usually applied to SCU. T-only in order to emphasize the dominant feature of the work. Individuality actor. G. R.

Coordinates: 37 ° 13'23 "p. sh. 38 ° 55'20 "in. d. / 37.223056 ° C. sh. 38.922222 ° C. d. ... Wikipedia

Coordinates: 37 ° 13'23 "p. sh. 38 ° 55'20 "in. d. / 37.223056 ° C. sh. 38.922222 ° C. d. ... Wikipedia

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Separately, unspanite, lonely, alone, one, turning, turningly, turning, pieces, especially, mansion, on the shatter, apart, rose, spit, sprinkle, granny, groza, gaze, duster, retail; drifting; oases, ... ... Synonym dictionary

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Books

• Surface game, Alves Katya, Freulein Adele behaves very suspicious. It is extremely uncharacteristic for it. She completely ceased to be on the overall collection of a super secret gang of fluffy and constantly in a hurry somewhere. Can… Category: Fairy Tales of Foreign Writers Series: Publisher: Willy Vinki,
• Sunny game, Katya Alves, Martha Valmaceda, Editorial Divilli Vinki` Represents! Freulein Adele behaves very suspicious. It is extremely uncharacteristic for it. She completely ceased to be at the overall collection of a super secret gang of fluffy and ... Category: For children Series: Super Secret Passy Band Publisher: Publisher`Ast`Manufacturer:

Actor M. F. Astangu, for a long time suffering from the role of Gregory Gaya in Pokhodinsky "My friend", helped love in that particular, high, truly Soviet breed of new people who decently represented the hero of Pogodin. As it often happens, the role was difficult. Director A. D. Popov left rehearsals with gloomy and dissatisfied. There was no Guy - the owner, a person, free, spaciously walking through life.

The birth has helped the case. "... good friends introduce me to the engineer, who just came from a big construction," Astangov told. - he is dressed in a half-day khaki color suit and white beam. I as I saw him in this outfit, I almost got caught: here's a suit of my gay. And what do you think? In the next run, I was already dressed under my new acquaintance, comprising myself with a thickness. Wasy stiffness began to evaporate, the step became harder, the gesture is wider, I feel that the desired fortress and confidence gained. "The owner", the "owner" began to appear, which Alexey Dmitrievich sought me so long. "

Astanga took with him in a play and a semi-long costume, and white beami, and a reprimand with a soft southern accent. But the main thing - Sergey Ivanovich M. - A large builder, whose biography literally echoed with the biography of Guy - a former locksmith, a participant in the civil war who graduated from the Promacadema, who traveled to the United States of America, who held team posts on the main Soviet construction projects, - Sergey Ivanovich M. Help Astangu Detect the grain of the role of Guy.

At the rehearsals of Ancestricts, I was looking for a special step of the hero, which is closely in room closet, which is familiar with the trenches in the trenches and beatings, in the stacks of the forest, in the bricks, the unjited land of new buildings in the bricks. Atestangs mastered the master's, rapid step and the characteristic gesture of the hero - hands, thickened above their heads, wide open, hugging and air, and earth, and comrades. For those who have seen and heard Guy-Astangov, he remained in memory of his jelly: "I am alive, my friends, I am alive!"

It is said that a bad actor has a mouth, the actor is better - mouth and eyes. "Nikolai Batalova has in the form of Figaro," said the wonderful actor Mkhata M. M. Tarkhanov, - the role in the heels! " A half-way, but very deep and important remark in meaning. The actor must be able to all. He should be expressive not only face, eyes, hands, but also back, blades, caviar, even ankle. He must penetrate the hidden and innermost world of the soul of his hero. But he should give a spectacular and expressive flesh image. Both of these processes - internal comprehension and external implementation of the image are inseparable, interrelated, mutually-needed each other. It does not matter in which sequence they occur. Often - at the same time. But only in their consent and equilibrium is reaches the desired harmony of the image. Above this task is fighting at rehearsals and actor and director. There is a binding concept of "characteristic actor", that is, a master who creates on stage is a unique and unique character, which has an equal ability to external and internal reincarnation. Great characteristic actor was Stanislavsky. To make sure that we have never seen it on stage, it is worth seeing photos of Stanislavsky different years.

Here are the baroque and weak hands of the old Gaeva, in all life they have learned only to keep the billiard cue and send a ball into the lyuza. Here is a virtually closed, dry brush of Dr. Shtokman - a worker, the reel, the defender of truth, stressful fingers are directed to the interlocutor, in the characterity of the gesture - the frozen controversy, disagreement, perseverance, the power of his own conviction. Here is an inspirational, wonderful profile of Chekhovskiy astrova, proudly set by a dark-haired head, freedom and artistry poses.

Here is the thoughtful, in the Bengnembards, with a capricious, messenger face of the Moscow Barina Famusov. Ruinsotus, Superity, Residence of General Kruitsky; oversaturated with stupid, swelling from idleness, with sagging cheeks, in a funny woven dressing, in the Cosma rare hair, the physiognomy of the Molieresky "imaginary patient." Here is a freely spread overnight at night, picturesque and in rags, former "handsome man" Gorky Satin ...

Distinguished actors playing characteristic and semi-battalines ( demi-Caractère.) Roles in comedies, Meshchansky dramas and melodramas (the tragedy required an elevated-abstract, unbreakable manner of the game). The development of realistic trends in the European Theater of the XIX century led to the need to set any character in touch with the medium, era, public household. Actors, seeking artistic truth, were looking for all the types of social, historical, household characteristics depicted by them. Among the largest Russian characteristic actors of the end of the XVIII - the beginning of the 19th centuries, A. M. Krutitsky, S. N. Sandunova, A. E. Ponomareva, A. A. Pomeransev and others should be allocated. M. S. Shchepkin is characteristic of the tragedy role of Baron ("Skupoy Knight" A. S. Pushkin), V. V. Samoilov - as King Lira. L. P. Nikulina-Kositskaya - in the role of Katerina ("Thunderstorm"). In all these cases, the characterity was not only external, but also internal: she stained the psychology of the character, his aspirations and feelings. A. E. Martynov in the "characteristic" role of Tikhon ("Thunderstorm") and P. M. Sadovsky in the role of Lyuba Torotov ("Poverty is not vice") and others, went beyond the scope of this role, deepened their game to the tragic sound. Realism, in fact, eliminated this amplua, and in this sense K. S. Stanislavsky said that the characterity should be present in each image, including the hero and lover. In the modern theater, the concept characteristic actor It is often used only in order to emphasize the dominant feature of the creative individuality of the actor.

In cinema

American film critics often noted that characteristic actors always are secondary characters. Professor Aira Konigsberg so determines the characteristic actor in the full cinematographic dictionary: "The characteristic actor is an artist who specializes in the secondary roles of pronounced and, often, humorous content." As the famous American film critic David Thomson notes, a characteristic actor can play any role in the film, except for the main one. The range of such roles for the characteristic actor, according to Thomson, begins with the roles of the main actors (at the same time not being decisive, key characters) and ends with the roles of A la "appeared in the frame and immediately fell out" (in American film critics of such characters, it is customary called " red-workers ").

Career characteristic actor

Theatrical and film critic Michael Andeshegg celebrates the existing difference between the characteristic actor and the movie or body of the star, which is that the actor embodies one or another role, while the star embodies himself in one role.

There are several reasons why many actors choose characteristic roles. It is much easier to pass the casting to the role of a second plan than to get a leading role in the film or TV series. Most movies only have from one to the three main characters, and prominently characteristic usually more. Also, important type The actor, according to which he receives the role: Actors Dennis Hopper and Steve Bushhemi have reached fame playing a lot of raw rings in the cinema, and Jane Lynch, Melissa McCarthy, Lisa Kudrou and Cloris, Honor became known for the roles of eccentric women.

Path to leading roles

Some actors that started with characteristic roles have ultimately achieved glory on major roles. These include Katie Bates, who played her first major role in 1990 in the film "Miseri" and then received a couple of main roles, and also returned to the actress of the episode. Woie Goldberg, Fran Dresher, Angela Lansbury, Hit Ledger, Feliciti Haffman, David Carradine, Sean Connery, Leslie-Anne Down, Christopher Lloyd, William H. Macy, Meryl Strip, Donald Sutherland, Jody Foster, Dana Dailani, Maggie Smith, Tim Mouth, Lawrence Olivier also in different years after characteristic roles achieved success, playing leading roles.

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Notes

1. Characteristic actor // Theater Encyclopedia / Ch. ed. P. A. Markov. - m.: State. Scientific Publishing house "Sov. Encyclopedia, 1967. - T. 5. - P. 579.
2. Litosova M. K. Professional speech of the actor and director: Terminological and non-membological phrases: a textbook for students of theatrical universities. - m .:, 1989. - P. 99. - 208 p.
3. Romanovsky I. I. Characteristic actor // Mass Media: Dictionary of terms and concepts. - m.: Union of Journalists of Russia, 2004. - P. 400. - 477 p. - ISBN 5-8982-3050-5.
4. Dubrovskaya O. N. Characteristic actor //. - M .: Olma-Press Education, 2002. - P. 290. - 320 p. - 5 thousand, ex. - ISBN 5-94849-106-4.
5. Chisholm, Hugh. Character Actor // The Encyclopaedia Britannica: a dictionary of Arts, Sciences, Literature and General Information (English). - 11th Edition. - N. Y.: Encyclopaedia Britannica, 1910. - Vol. V. - P. 856.
6. Konigsberg, Ira. CHARACTER ACTOR // THE COMPLETE FILM DICTIONARY (English). - 2nd ed. - N. Y.: Penguin Reference, 1997. - 469 p. - ISBN 0-670-10009-9.
7. ARNHEIM, RUDOLF. In Praise of Character Actors // / Edited by Pamela Robertson Wojcik. - N. Y.: ROUTLEDGE, 2004. - P. 205. - 240 p. - (in focus). - ISBN 0-415-31024-5.
8. Stein, Ben (APRIL 8, 1996). "". NEW YORK MAGAZINE NEW YORK MEDIA, LLC) 29 (14): 44. ISSN.
9. Anderegg, Michael. Cameos, Guest Stars and Real People // / Edited by Laurence Goldstein, Ira Konigsberg. - Ann Arbor: University of Michigan Press, 1996. - P. 155. - 338 p. - ISBN 0-472-06640-4.

An excerpt characterizing the characteristic actor

"Vasily Denisov, a friend of your son," he said, recommending a count, who looks at him.
- Welcome. I know, I know, "said Count, kissing and hugging Denisov. "Nichushka wrote ... Natasha, faith, here he is Denisov."
The same happy, enthusiastic faces appealed to the shaggy figure of Denisov and surrounded him.
- Blue, Denisov! - Natasha scored, without remembered himself from delight, jumped to him, hugged and kissed him. Everyone was embarrassed by the act of Natasha. Denisov also blushed, but smiled and taking Natasha's hand, kissed her.
Denisov was taken to the room prepared for him, and the Rostov was all gathered in the sofa near Nichushka.
The old Countess, not releaseing his hands, which she kissed every minute, sat with him next; The rest, crowded around them, caught his every movement, the word, look, and did not descend the eyes enthusiastically. Brother and sisters argued and intercepted places from each other closer to him, and they fought for someone to bring to him tea, handkerchief, tube.
Rostov was very happy with the love that he was told; But the first minute of his meeting was so blessed that his present happie seemed little to him, and he was still waiting for something else, and also.
On another morning, visiting slept from the road to the 10th hour.
In the preceding room, sabers, bags, caski, opened suitcases, dirty boots were lying around. The cleaned two pairs with spurs were just put at the wall. The servants brought washbasins, hot water for shaving and cleaned dresses. Plowed tobacco and men.
- Gay, G "Ishka, T" Ubka! - shouted the hoarse voice Vaska Denisov. - Rostov, get up!
Rostov, rubbing the fucking eyes, raised the confused head with a hot pillow.
- And what's late? - Late, 10th hour, - Natashin's voice answered, and in the next room there was a blizzard of starchy dresses, a shop and laughter of maiden votes, and something blue, ribbons, black hair and funny faces flashed into a slightly dissolved door. It was Natasha with Sonya and Petya, who came to visit, did not get up.
- Nikoleka, get up! - Natasha's voice was heard again at the door.
- now!
At this time, Petya, in the first room, seeing and grabbing the saber, and experiencing the delight that boys are experiencing, at the sight of a militant older brother, and forgetting that the sisters are indecent to see the divided men, challenged the door.
- Is this your saber? He shouted. Girls bounced off. Denisov with frightened eyes hid his shaggy feet into the blanket, looking at the help of his friend. The door missed Petya and got out again. Behind the door heard laughter.
"Nicholyka, go out in a bathrobe," Natasha's voice said.
- Is this your saber? - asked Petya, or is it your? - He addressed the unceol, black Denisov with an uncertain respect.
Rostov hastily shoved, put on a bathrobe and came out. Natasha put on one boot with spur and climbed into another. Sonya was spinning and just wanted to inflate the dress and sit down when he came out. Both were in the same, new, blue dresses - fresh, ruddy, fun. Sonya ran away, and Natasha, taking a brother at hand, led him to the sofa, and they had a conversation. They did not have time to ask each other and respond to questions about thousands of little things that could only interest them. Natasha laughed at every Word he spoke and which she said, not because it was ridiculous what they said, but because she had fun and she could not hold his joy, expressing laughter.
- Oh, how good, excellent! She sentenced to everything. Rostov felt under the influence of hot rays of love, for the first time after a year and a half, on his soul, and on his face was blooming the children's smile, which he never smiled since then drove out of the house.
"No, listen," she said, "are you now a man now?" I'm terribly glad that you are my brother. - She touched his mustache. - I want to know what kind of men are you? Are these as we? Not?
- Why did Sonya ran away? - asked Rostov.
- Yes. This is still a whole story! How will you talk to Sonya? Are you or you?
- How to happen, "Rostov said.
- Tell her you, please, I'll tell you after.
- What?
- Well, now I will say. You know that Sonya is my friend, such a friend that I am burning for her. Look here. - She knocked her backstage sleeve and showed on his long, thin and tender handle under the shoulder, much higher than the elbow (in the place that closed and ballroom dresses) is red methine.
"I burned it to prove her love." Just the ruler squeezed on fire, and pressed.
Sitting in her former classroom, on a sofa with pads on the handles, and looking at these desperately lively eyes of Natasha, Rostov again entered that his family, a children's world, who did not have any meaning, except for him, but which delivered him some of the best pleasures in life; And the burning of the hand of the line, for the reading of love, it seemed not useless to him: he understood and was not surprised at this.
- So what? only? - he asked.
- Well, so friendly, so friendly! This is that, nonsense - ruler; But we are forever friends. She will love who is so forever; And I do not understand this, I will forget now.
- So what?
- Yes, she loves me and you. "Natasha suddenly blushed," well, you remember, before leaving ... So she says that you all forget it ... She said: I will love him always, and he will be free. " After all, the truth is that it is great, noble! - Yes Yes? Very noble? Yes? - Natasha asked so seriously and excitedly, which was visible, that she said now, she had previously spoke with tears.
Rostov thought.
"I don't take my word back in anything," he said. "And then, Sonya is so charm that what a fool will give up his happiness?"
"No, no," Natasha shouted. - We have already talked about it with her. We knew that you would say it. But it is impossible, because, you understand, if you say that - you consider yourself a knitted word, it turns out that it seemed to be deliberately. It turns out that you still have forcibly marrying it, and it turns out at all.
Rostov saw that all this was well invented by them. Sonya and yesterday struck him with his beauty. Now, seeing it with a glimpse, she seemed even better for him. She was an adorable 16-year-old girl, obviously passionately his loving (he did not doubt it for a minute). Why he was not to love her now, and not marrying even, thinking Rostov, but now so many other joys and classes! "Yes, they have come up with it perfectly," he thought, "I need to stay free."
"Well, well," he said, "after talk." Oh, how I am pleased! - he added.
- Well, what are you, Boris did not change? - Brother asked.
- That's nonsense! - Laughing shouted Natasha. "I don't think about him about him and I don't want to know."
- That's how! So what are you?
- I? - Natasha asked, and happy smile lit her face. - Did you see Duport "a?
- Not.
- The famous dubbed, dancer did not see? Well, so you will not understand. I'm what. "Natasha took, rounded his hands, his skirt, as they dance, taped a few steps, turned over, made Anthrash, broke the leg about the leg and, becoming the most tips of the socks, passed several steps.
- After all, it is worth? After all, here, - she said; But it was not kept on tiptoe. - So I'm what! Never get married to anyone, but I will go to the dancers. But do not tell anyone.

Determine the proposal in which it is not written with the word. Open brackets and write this word.

The action of Roman V. Nabokova "under the sign of illegitimate" unfolds in (not) called the police state headed by the dictator of the Paduk.

In the story "cut off" Shukshin showed a rustic resident at all (not) a characteristic role.

Our trains stood side by side, as the twin brothers, (not) learned each other, and were divided forever.

(No) Looking at the comrades, Kirill went down the corridor quickly step.

In life, he was unnecessarily diplomatic and tried to act (not) directly, as his father would have received, but an obsolete, a hint.

Explanation (see also a rule below).

Recall brackets.

Phrase from the task	Justification of separate or fusion writing
	Ply, the word is without not used
	Dlya / separately: the word with not (adjective, noun, adverb) can not be replaced by synonym
4) not at all Characteristic	Separately: with adjective, adverbs on -o and communion, words on-mail, if opposition is meant and denial is intensified with words:
	Dlya: both signs called adjectives are attributed to the subject, i.e. there is opposition, but without negation.
unnamed police state	Dlya: with full genthes without dependent words or opposition
without learned each other	Apart: with full gestures in the presence of dependent words or opposition
not straight but (\u003d a) Abundant (\u003d underwhelms, hint)	Separately: there is or implied opposition, expressed most often with the union a. (But it happens to the union, but if words are antonyms)
not looking ( tempecios)	Separately with verbs, adapters, briefs, with numerical, unions, particles, pretexts, pronounced (except relative)

Answer: Unnamed

Answer: Unnamed

Relevance: current school year

Rule: Task 13. Blinking and separate writing is not with any different parts of speech

The spelling is not and nor.

By specification in the task of this type is checked:

-These to distinguish a particle not from the particle either;

-Exide to distinguish the prefix not from the console either;

-Exination to write pony or separately not with all parts of speech.

In this regard, we draw attention to the fact that the condition of tasks, depending on its goals, can differ significantly. At the same time, we also note that in the typical assignments of the exam (the authors of Tsybulko I.P., Lviv, Sneyev) is checked only the ability to write in a punk or separately with different parts of speech, but in the tasks of other authors, including Shenina, MMIO (Statgrad) Presented and tasks for choosing no or nor. The editorial office of Svezhegé also considers it necessary to expand the types of this task within the current year specification.

We also pay attention to the fact that a number of rules, with which the writing is checked, is not studied in the school course. Such rules are marked with *.

12.1 Fusion and separate writing of particles not and nor.

The particle is not written separately:

1) If there is or implies opposition to names, adverbs and communion. It should be distinguished by direct contrast, in which one of two signs called adjectives is denied, and the second is approved, and the opposition with a gravating tint of the value in which both features called adjectives are attributed to the subject, i.e. there is a contrast, but without negious . CP: The lake is not deep, but small (denied the sign "deep" and is approved by the sign "small"). - Lake shallow, but wide (both signs are approved: "both small, and widespread"; "Although fine, but widespread") .	1) It's not happiness, but grief. The river is not small (deep). You are not my friend. They walked not quickly, but slowly. Not clenching, but the growing hum.
2) * with adjective, adverbs on -O and communities, words on-blame, if the opposition is meant and denial is intensified with the words: a) not at all, not, not, not, no, no, no; b) negative location words: not at all, no, no one, no one, no one, no one, never, no one, no, no, nothing, nothing, nothing, etc. For the convenience of explanations, we call them about t r and c, the amplifiers.	a) this is not true; This case is not completely unique; This is not obvious; It is far from brave; Man is not a stupid man; Not fun to talk about it; Nimalo is not confused; She is not at all formed by her husband; b) the case is not suitable; No good project; No he is a friend; Not at all envious, no one needed, in no case is not useless, no one is not able to anything, nothing is capable of anything; He is not at all beautiful than his sister;
3) * with brief adhesive, which are not used in full form.	3) Not glad, it should not, not right, not visible, does not intend, not located, not ready, not required, I do not need, I do not agree.
4) with full switches in the presence of dependent words (except for the words of the amplifiers of the degree, see the list) or opposition (as a general rule)	4) There were not yet cleaned fields of rye. Not laughing, and crying child.
4) * with exclusive adjectives formed from transient verbs of an imperfect type with the help of suffixes, ", if there is a dependent word in the articulated case.	4) Not a favorite thing for me was to take this year. This case requires additional explanation. It should be distinguished by writing not with the words on-one, formed from transient verbs of an imperfect form: such words can be both the suffering gestances of the present time, and adjective (in the first case, writing with not separate, in the second - a fusion). In combat, they are if, with them as an explanatory word, an efficient case of an active person is used, less often a creative gun (the so-called instrumental); If there are other explanatory words, they become adjectives (lose the value of the suffering and time value and acquire qualitative meaning). Wed: The child is not beloved by the mother - unloved in childhood of the game (in the second case, the word unloved indicates a permanent sign, indicates the same as "unpleasant", "unwanted"); Movement, not braking air - the side of the moon is invisible from the ground. The adjective of this type includes: invisible, unbearable, non-flame, non-visible, immovable, unforgettable, non-visible, immutable, unloved, unthinkable, unrelated, ordered, unnecessary, indequent, unrecognizable, unverified, unfriendly, intolerable and Dr. Wed Their writing in the presence of explanatory words: indivisible for three numbers unforgettable for us, through the invisible to the world of tears, unthinkable in the recent past of records, inextricated by the simple words of feelings, unveiled for ancountal accounts, impassable in the spring, dirt unwound in Russian nouns , intolerable behavior in our society, etc.
5) with verbs, adapters, briefs, with numerical, unions, particles, pretexts:	5) was not, could not, not recognized, was not ordinous, not removed, not one, not five, not that ... Not only, not only, not above us.
6) * with adverbs and words categories a) in a comparative degree b) in the role of the leaning impersonal faith	6) Moved not louder, spoke no faster i do not need, she does not need
7) in negative pronsections with a pretext with an emphasis	7) not with anyone, nothing about com
7) in negative pronsections with a pretext without emphasis	7) with anyone or what nor

12.2 Dynamous writing is not either.

The particle does not write punk:

1) If the word is without not used.	but) Nouns: Escape, Nevska, ignorance, ignoramus, Nevzdaya, Nevidal, invisible, slam, rascal, unwarch, illness, forget-me-not, hatred, bad weather, malfunction, fidget, sludge, disadvantaged, loser, non-Christ; b) adjectives and adverbs formed by them: negligent, inevitable, non-reflectible, uncaptured, inevitable, unchanged, ridiculous, necessary, invincible, incessant, inseparable, unspecified, non-unprofitable, incomplete, undoubted, incomparable, incomparable, unhappy, clumsy, unbearable, unshakable, indisputable, indispensable; Carelessly, ridiculous, it is necessary, undoubtedly; in) verbs: To be invisible, to be unreleased, indignant, to admonish, unreliable, hate, unhealthy, it is unpleasant, perplexed, neudows, neurouted; d) adcharations and other unchangeable words: Non-night, nememoch, insensitive, non-dome, unstable, non-trial, impossible, nothing else, reliable; Despite, despite the (prepositions)
2) * It is not part of the console, which gives the verbs the value of incompleteness, insufficiency compared to any norm. " The same rules also work in the communion formed from the verbs with the prefix. The prefix undersually happens an antonym of the prefix to re-upon: to imagine - to reduce, it is not possible to overcome, it is not possible to overcome, it is not served.	2) The child is very lacking for parents' care. During the war, children were undernourished and laid off. Christmas too believed in his strength, considering himself ingenious, but underestimated the abilities of his opponent.
3) with noun, adit, adverbs on -O, -e, when a new word is formed, a new concept, often with negative quality.	3) misfortune (misfortune), difficult (difficult), unclean, ugly, near (close), nearby
4) * In combination with the adjectives and adverbs, the words denoting the degree of quality: very, extremely, very, extremely, clearly, rather (rather), enough, cryingly, solely, to the highestthere are no influence on a jagged or separate writing, so it does not write firmly. For the convenience of explanations, we call them with and l and t e l and degree.	4) a very unpleasant incident. A completely uninteresting game was invented. He spoke quite simple.
5) with complete communities in the absence of dependent words or * when dependent words are amplifiers	5) We walked along the unailed streets of the town. Accepted a completely raised decision.
6) * In the separable adjectives formed from non-transient verbs or transient verbs of the perfect species with the help of suffixes -, -im-. This is not a communion, since communion with suffixes, they should only be a imperfect species, they are the same time.	6) unfavorable, inexhaustible, irreconcilable, irresistible, indomitable, inexhaustible, uncomplicable.
7) In negative and indefinite pronsections and adverbs, depending on the emphasis, E or and, but it is praised.	7) There is no one-none, nothing, nothing, some-none, nothing, no way, nowhere, nowhere, no guest, no longer needless, never once.

12.3. Particles are not and differ in value:

For the correct selection of particles, it is not necessary to take into account their semantic differences. Reflect them in the tables.

Major cases of eating negative particles

The particle is not used	The particle is neither used
1) to express denial: There were no letters and telegrams. Brother is not like a deceiver. Not the moon, no stars are interested in me, but only meteorites.	1) to enhance the denial, a pronounced particle is not Neither letters nor telegrams were. The brother is not like a deceiver or a joker. I am not interested in neither the stars nor the moon.
2) to express the approval with a shade of must (double denial): He could not help but call. We could not not notice.	2) to express a quantitative denial: The sky is clear. In the mouth nor Rosinki.
3) to express the impossibility in impersonal suggestions: Do not catch up with you a mad triple! Will not be a fire war!	3) for the emotional expression of the ban, order, must No step back! Neither sound! Not a day without a line!
4) when expressing uncertainty, fears or admiration: Isn't you my guest? No matter how frost hit! Well, no hero!	4) to express uncertainty: He neither old, nor young, nor thick, nor fine (Wed: he is not the old, not that young). In phraseologizams: None neither nor fish nor meat.
5) in questioning and exclamation proposals when expressing underlined approval: Who did not curse station caretakers who did not scold with them! (A. Pushkin) Isn't it true that we walked? With your condition how not to marry? (L. Tolstoy)	5) in the apparent proposals with a generalized-amplifying value (with the union words: whoever .., whatever .., wherever .. etc.). Whatever child either overwhelmed, just not crying. When it is not asked if the word in the pocket does not climb.

Complex cases of distinction for no

1. In addition proposals. Compare:
Not expressing denial: When the brother did not come, everyone felt boredom. There is no wars where soldiers do not die.	Neither expresses approval with a shade of generalization: Whenever brother came, he always made a revival and joy. Wherever the soldiers died, they should be remembered and honored.
2. In revolutions not one and none; more than once and never. Compare:
Not expressing denial: Not one of us (i.e., many) was ready to climb. More than once (i.e. many times) I had to meet with a wild beast.	Neither expresses the increase in denial: None of us (ie, no one) was not to climb. Not once (i.e. never) did not have to meet with a wild beast.
3. In placed turns. Compare:
Selective speed with does not contain the value of hidden opposition and are used in the affirmative proposals (Wed: No Who else, a ..) No one else, like a woodpecker, pounded in the forest. Before us was nothing but an ancient cave.	These revs are used in negative proposals and serve to increase denial: no one ... not; nothing is not: Nobody will put us on the faithful path. Nothing other than music, I did not get carried away so much.

Remember!

Composite reinforcement with a particle nor:

whatever it is possible, be that as it may, anywhere, somewhere, wherever it happened, but others did not even happen.

Writing writing not with ungalled adjectives on -Mom and with communion on -Mo; In the presence of explanatory words, the first is written in a punch (as well as the implications of adjectives), the second - separately, for example:

but) uninhabited For a long time, the island, insoluble in water crystals, indistent in the dark figures of people;

b) reserves not visited by hunters, not read nonspecialists magazines, not love Mother child.

To adjective on -Mom The words formed from non-transparent verbs (for example: independent, waterproof, non-burning) or from the verbs of the perfect species (for example: incorrigible, unfulfilled, indestructible). These words apply to general rules for writing not with adjectives, i.e. they are picked and subject to explanatory words (see examples above), as well as in brief form (for example: island uninhabited, disease incurableThese countries are economically independent). However, the rule of separate writing adjectives with notif pronouns and adverbs starting with n., or combinations not, not at all, not at all (See above, paragraph 6, notes. 1. Subparagraph 2), for example: not comparable impression none of anyone dependent countries not soluble crystals; This phenomenon is not from life or from art do not eliminate. The exception is words that without not Not used, for example: nobody unbeaten army or for anyone incomprehensible case under no circumstances unique experiment.

Note.

Writing should be distinguished not With the words -Momformed from transient verbs of an imperfect type: such words can be both the suffering gestances of the present time and adjectives (in the first case, writing with not Separate, in the second - a fusion). In combat, they are if, with them as an explanatory word, an efficient case of an active person is used, less often a creative gun (the so-called instrumental); If there are other explanatory words, they become adjectives (lose the value of the suffering and time value and acquire qualitative meaning). Wed: not love mother child - unloved In childhood of the game (in the second case, the word unloved indicates a constant sign, refers to the same as "unpleasant", "unwanted"); traffic, not brake air - invisible From the ground side of the moon.

An adjective type includes: Invisible, unbearable, non-flammable, negascin, immovable, indivisible, unforgettable, non-visible, immutable, unloved, unthinkable, unrelated, inalted, untransferable, indescribable, unrecognizable, unverified, unfriendly, intolerable, etc. Writing them in the presence of explanatory words: indivisible for three numbers unforgettable for us meetings through invisible world of tears unthinkable In the recent past records, indescribable Simple words feelings, unchecked For a long time, accounts, neruptable In the spring, dirt, nonclocking in Russian nouns, intertly In our society, behavior, etc.