Post by MenelaosGkikas on Apr 13, 2022 12:25:17 GMT
Republished from my Facebook Page, Maker's Dust February 27 2022
Hello creatives, writers and friends! Recently I started mentioning The Stanislavski System which is an established method for the professional training of actors. Having talked previously about the magical if, that’s the beginning, the A of the system, today I will talk about its Z, the capstone notion that is the emotional or touching memory. Stanislavski would always try to widen his knowledge on every aspect of the inner life of people. He studied psychology, physiology, aesthetics as well as historical and theoretical writing on theater. He would talk with scientists and intellectuals on many issues. One day, the term emotional memory or touching memory arises.
A tricky start begins with the fact that the scenic experience of an actor is different than his experience in life. The difference lies on the fact that on stage, the actor lives as a character as well as an actor that creates that character. The experiences of the actor-character affect one another. The experience of an actor depends on the authenticity of his experience. Furthermore, time is an excellent filter, an excellent purifier of our touching memory that was once tested. Moving on, time is an excellent artist. It does not only purify but it’s capable of poetizing memories. (Some words from the book of Sonia Moore).
So, here’s where the tricky start is being altered, the myth is not always a myth, fairytales do not constitute fairytales but they shape and they’re being shaped by truth. The first building block that makes us realize where exactly fables and realities intersect is the explanation of a cliché (but for a reason) known as “Show don’t tell”. Information communicated is not information delivered unless it is delivered in a physical fashion, that takes into consideration pure literature, writing structures and scenic spacetime deployed by scene headings. Getting rid of the dialogistic monopoly in other words…
World building similarities and coincidences may be too good to be true, but in art we are destined to reflect society in an emotional way. Spaces indicate the motivation of “doing it" instead of “saying it”, stop talking and start acting in other words. Spiritual or meditative solutions for example, acquire a lot of greater gravity if they’re not portrayed in dialogue but instead of this, we can witness the character talking with his sidekicks being active in a book club of creative reading.
A lot of you though, dealing with articles and more articles stating emotional analyses, archetypes, forms and the such, may argue in terms of what stays the same regarding your first drafts and what changes, how we can evolve and not erase.
A nice project is nice if it can work as a miniature in terms of the escalation and the canon of proportions, meaning, the proportional expansion writers will face at the escalation. For example, in The Words of Emily Logan, Joel as a character in the future is unemployed, his father is at the hospital and he risks losing him and family relationships are at risk. Crises are being expressed softly… Hollywood approvals would mean that such crises will be reorganized, timely repositioned, escalated, partly deleted, be more complex and follow the introduction of other character flaws and struggles. A book summary though or a marketing blueprint (known to many screenwriters as a pitch) would work as the bigger “symmetry” of the initial idea, symmetry, a term borrowed from math that underlies the magnification of a complex world via diversity…!
To get the essence of the touching memory and emotions, bearing in mind the above, writers can get it through the building block of poetizing their experiences and their characters’ experiences. Meaning, learning to put personal thoughts and personal feelings in the processes by staying loyal to the structures that created them, meaning the complex characters and creative initiatives. It doesn’t mean subtracting interests but showing the beauty they possess inside, something we didn’t have the chance to do in our early youth… So, through the filter of time and the purification being the result of hard work, we understand that to poetize memories doesn’t mean in the end that everything is positive. We have just reached a state of equilibrium, confidence and satisfaction. And that’s independent from our past, our mistakes or what didn’t go well once…
Interested to find out about the projects that started it all? Get to know my work through Amazon Author Page and my website at Independent Authors Network (IAN):
Amazon Author Page: amazon.com/author/makersdust
The Independent Authors Network: bit.ly/39chSSQ showcasing Amazon, Barnes & Noble, Kobo & Walmart as well as the diversity of some of my professional pages!
Hello creatives, writers and friends! Recently I started mentioning The Stanislavski System which is an established method for the professional training of actors. Having talked previously about the magical if, that’s the beginning, the A of the system, today I will talk about its Z, the capstone notion that is the emotional or touching memory. Stanislavski would always try to widen his knowledge on every aspect of the inner life of people. He studied psychology, physiology, aesthetics as well as historical and theoretical writing on theater. He would talk with scientists and intellectuals on many issues. One day, the term emotional memory or touching memory arises.
A tricky start begins with the fact that the scenic experience of an actor is different than his experience in life. The difference lies on the fact that on stage, the actor lives as a character as well as an actor that creates that character. The experiences of the actor-character affect one another. The experience of an actor depends on the authenticity of his experience. Furthermore, time is an excellent filter, an excellent purifier of our touching memory that was once tested. Moving on, time is an excellent artist. It does not only purify but it’s capable of poetizing memories. (Some words from the book of Sonia Moore).
So, here’s where the tricky start is being altered, the myth is not always a myth, fairytales do not constitute fairytales but they shape and they’re being shaped by truth. The first building block that makes us realize where exactly fables and realities intersect is the explanation of a cliché (but for a reason) known as “Show don’t tell”. Information communicated is not information delivered unless it is delivered in a physical fashion, that takes into consideration pure literature, writing structures and scenic spacetime deployed by scene headings. Getting rid of the dialogistic monopoly in other words…
World building similarities and coincidences may be too good to be true, but in art we are destined to reflect society in an emotional way. Spaces indicate the motivation of “doing it" instead of “saying it”, stop talking and start acting in other words. Spiritual or meditative solutions for example, acquire a lot of greater gravity if they’re not portrayed in dialogue but instead of this, we can witness the character talking with his sidekicks being active in a book club of creative reading.
A lot of you though, dealing with articles and more articles stating emotional analyses, archetypes, forms and the such, may argue in terms of what stays the same regarding your first drafts and what changes, how we can evolve and not erase.
A nice project is nice if it can work as a miniature in terms of the escalation and the canon of proportions, meaning, the proportional expansion writers will face at the escalation. For example, in The Words of Emily Logan, Joel as a character in the future is unemployed, his father is at the hospital and he risks losing him and family relationships are at risk. Crises are being expressed softly… Hollywood approvals would mean that such crises will be reorganized, timely repositioned, escalated, partly deleted, be more complex and follow the introduction of other character flaws and struggles. A book summary though or a marketing blueprint (known to many screenwriters as a pitch) would work as the bigger “symmetry” of the initial idea, symmetry, a term borrowed from math that underlies the magnification of a complex world via diversity…!
To get the essence of the touching memory and emotions, bearing in mind the above, writers can get it through the building block of poetizing their experiences and their characters’ experiences. Meaning, learning to put personal thoughts and personal feelings in the processes by staying loyal to the structures that created them, meaning the complex characters and creative initiatives. It doesn’t mean subtracting interests but showing the beauty they possess inside, something we didn’t have the chance to do in our early youth… So, through the filter of time and the purification being the result of hard work, we understand that to poetize memories doesn’t mean in the end that everything is positive. We have just reached a state of equilibrium, confidence and satisfaction. And that’s independent from our past, our mistakes or what didn’t go well once…
Interested to find out about the projects that started it all? Get to know my work through Amazon Author Page and my website at Independent Authors Network (IAN):
Amazon Author Page: amazon.com/author/makersdust
The Independent Authors Network: bit.ly/39chSSQ showcasing Amazon, Barnes & Noble, Kobo & Walmart as well as the diversity of some of my professional pages!