I am not bigger than any professional in lying, I simply master the artistry of imagination.I have taught how not to defer myself to limits or self imposed restrictions.Acting is 'not' a metaphor to real life. What it is - is an ambiguity of a lie which a lie is to ambiguity it defers to what is reasonable.
1 - Ambiguity.2 - helps define an actors choices. 3 - to develop an unconscious mind. This concept of a trained unconscious mind, is that you think of the least ambiguous gesture, then, subconscious would take as such that information, if it were to take place in real life. Therefore, it divides the mind into (a) unconscious (b) ambiguity (c) choices.If you think about an untrained conscious, the nature of mind is to the ambiguously trained Unconscious, then to a subconscious state of mind.
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I am no mental slave to talent; some only make it appear bigger then others in ego. A kind of unprofessional heartache.
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I have always wondered why I believe in paranormal activity, acting deems to be a good place to test others fear against their own better inhibition. I think that's what acting is, resembles, a
1- test to fear, then what follows. . .2 - fear to test your most intimate inhibited state into a form of 3 - medium which is therefore 'uncontrollable'. (i.e. being aware of the unconsious mind)
Therefore a test of fear toward your own (a) limitations, (b) barriers, (c) traps you set up in place of true emotion to be experienced.
I believe this is a rather brilliant dissertation, from the normative element of acting truthfully. I on the other hand take an active approach, in seeing how:
- committed actors are. . .- ethically available, - to achieve the vision in creativity as if undefinitive. (i.e.' not unattainable')
It is the hardest thing to be aware of in doing, acting takes practice to intuitively receive and at the same time repair another actors fucking ignorance.
(I can use swear words which are considered meaningful in context.)
The original version of the word "fuck" as the great George Carlin infamously pointed out: fuck is to 'hit' or to 'strike'. In this modern day and age, people misuse context insipidly.
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My own personal relationship to myself as an actor, is probably the single most important sacrifice I have ever made up to discovery.
My own awareness is a (a) false belief, in which I thought my own (b) ability was beyond (c) disrepair.
How wrong I was, to instill in myself - such self hatred, I in doubt of myself.
Acting must take on a form of mind, through which the heart glows warm, and the light shines love of such craft to pure awareness.
I cannot allow my own self-betrayal.
Such impurity of the soul, creativity is a corrective measure, acting is a behavior of. 1 -Acting to me is a behavior. 2 -I've never really thought of it that radically before. 3 - Such awareness takes discipline to adopt.
© Marco Almeida 2012
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I reassessed and reorganized the thoughts I had in this dissertation; in order to make this a 'traitor's version of acting'. The dissemination of the acting trade.
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1- "If you think about an untrained conscious, the nature of mind is to the ambiguously trained Unconscious, then to a subconscious state of mind."
2- I have always wondered why I believe in paranormal activity, acting deems to be a good place to test
others fear against their own better inhibition. I think that's what acting is, resembles, a: (follows '3')
3- (cont. Follows '2'^) (a) test to fear, then what follows (b) fear to test your most intimate inhibited state into a form of (c) medium which is therefore 'uncontrollable'. (i.e. being aware of the unconscious mind)
Can I correct another persons choices that should otherwise NOT be happening, then to change the outcome, means the approach to all acting takes place in the mind of myself as an actor. Can I automatically recognize patterns, within the choices being made.
Think about it, in strategy, toward everyday life do I stop to think about how I could have changed an outcome favorable to me or not. Therefore, the basis of my emotion is to produce change in the choices being made by myself AS the other character would observe of myself.
Can I as an actor, in other words, correct another persons behavior in real life, depending on the choices they have made already. How do I possibly know the difference. My behavior is as unaware of the other persons, unconsciously I am programming the other characters whereabouts, however, my personal manifestation of my unconscious self - can only be aware of my own behavior.
The subconscious mind transfers the information, transforming what I see as an ambiguous representation of my own needs, ambiguity to AWARENESS of choices. The unconscious PROMOTES choices being made.
Marco AlmeidaThe truth in all of this is why actors suffer, how then they take it for granted.
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1 -"Most actors' problems, professional or amateur, deal with tension and there are a lot of devices / ways of eliminating it."
2 - "In a very professional actor the tension is because they haven't made a choice that has taken enough of their MENTAL
interest."
3 - "In other words, they haven't made a vital enough choice; it's NOT up to a level that will engage their imagination / get them into pretending unself-consciously." - Jack Nicholson
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I reassessed and reorganized the thoughts I had in this dissertation; in order to make this a 'traitor's version of acting'. The dissemination of the acting trade, then which the actor is an agent of. A contract with myself.
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The NATURE of ambiguity is a critical distinction to make.
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This theory pertains to ambiguity as a vehicle to promote free thought in acting methods, to create choices, on impulse, in effect, as opposed to the traditional sense of humor toward actors inability to make strong choices. "Oh, look at that we
decided to act, and when we did, some magic happened."
What is the strategy behind a more scientific approach to myself as an actor. This is the question I made to own, a specific approach to 1 -CREATE choices results in skill to own them, 2 - rather than opposite, which actors fail in their subconscious methods, 3 - to satisfy static emotions, then to do something worth value.
An actors unconscious should develop (a) the ability to perform, on (b) assuming control of their actions (c) based purely upon AWARENESS.
The traditional school of thought would attribute such, as sound and movement. However, the key to all acting should cost me as an actor, my ability to produce a moment on the basis of organic choices. NOT - choices I already made. I call this my own riches of authenticity. To take away from the conventional actor's method, by purely - carefully, distinguishing thoughts as they are CREATED. A rather undetailed, non-specific attempt at acting truth.
The character's function is one of the actors quality, in deciding not to act, chase methods making choices before being in the actual moment present.
You cannot live the part, having made choices relating to the outcomes, you must NEGLECT the outcome as if you didn't know it could even exist in the first place. This takes extreme ultimate sacrifice.
Think about it, how do you know what moment presents itself to make choices you yourself make in real life before anything actually happened. Would you demonstrate super powers, to know the choices you already had to make.
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^There is a huge myth to acting that most actors have no idea in the skill to acquire from such theoretical proposition.
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I suppose I infer myself, to own, what it should be like given the nature of reason present in one's actual state as in real life. Sometimes you have to take a dishonest approach with yourself, in order to find pure truth, and trusting it.
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A lot of my theory can be thought of as an anti-theoretical approach to what traditionalists imply.
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