Emotional delivery of the rational solution

Mandy
so when are you going to start the revolution?

22:23
Gav
i have already started it
before lenin took over italy, he said ‘now 3 understand, the revolution is won.”

22:25
Mandy
are you fond of communism

22:28
Gav
no not at all
my point is simply that once a few pivotal people truly understand
then i am optimistic we can effect the large societal change necessary

22:28
Mandy
so when r u starting the Uk movement?

22:29
Gav
i really think the uk is a lost cause [right now]
its a sinking ship
america has more potential simply because more people are awake
brits are lethargic and apathetic

22:30
Mandy
what about South America – that’s where your heading right?

22:32
Gav
more opportunity there than UK
there is more passion there
it just needs to be directed

22:33
Mandy
directed on what

22:34
Gav
the grand puzzle
the big picture
the emotional delivery of the rational solution

[snip]

22:42
Gav
what i mean is…
directing the general focus of the masses
towards undermining, rejecting, and replacing the current control systems
through 2 main routes (thinking off the top of my head)
1. emotionally penetrating education about how and why they are suppressed
2. by elevating their status by bringing them info products that help them achieve more in life (work, relationships, etc)

22:45
Mandy
hmm profound stuff – is this about your 7 steps to productivity mentioned on your website?

22:47
Gav
that’s one piece to the puzzle

22:50
Mandy
so there’s more to this jigsaw?

22:51
Gav
Mandy, Mandy, Mandy… the puzzle is significant
I cant organize the world with freedom with a simple 20 page pdf that shows people how to organize their interests
lol
but its one important piece
Here is a good page that suggests the broader picture I think

http://www.success-matrix.com/neuroplasticity/the-looking-glass/

shall i email that to you as well?

22:52
Mandy
yes please do – you seem to have all the answers

22:52
Gav
i have more questions than I have answers

22:55
Mandy
so did you know the answer to true freedom or is that one of your questions still be answered

22:57
Gav
i dont know if i know or not

23:00
Mandy
why do you think the masses in the Uk are hoodwinked? l’m intrigued to know, but if its too late in the evening to talk it out then i’ll understand

23:01
Gav
not sure i have the words
i’ll think about it and we’ll chat again
enjoy my link

23:01
Mandy
byee

A Dream Of Passion by Lee Strasberg

Notes from the big A Dream Of Passion by Lee Strasberg.

For one interested in creativity… the nature of creativity… Stanislavsky sought to draw conclusions about the general nature of the creative process.

Essential elements remain the twin requisites enunciated by Talma ‘unusual sensitivity and extraordinary intelligence’

Force his soul so to his own conceit.

Emotional memory is the origin of the creation of any work of art.

Emotion recollected in tranquillity, the emotion is contemplated till, by a species of reaction the tranquility gradually disappears, and an emotion kindred to that which was before the object of contemplation is gradually produced and does itself actually exist in the mind.

Deep and even obsessive thirst for knowledge and culture.

This inner emotional experience that I had come to recognise as real acting could be a created with behaviour that was strictly bound by elements of rhythm or a musical framework.

Basic problem in acting, the problem of inspiration.

Does the actor actually experience the emotion he is portraying, or should he demonstrate the emotion without experiencing it?

Value of experience, value of demonstration.

Masks or Faces?

Diderot describes a very simple paradox: for the actor to move the audience, he must himself remain unmoved. The essay, therefore, seems to conclude that external acting is to be preferred to emotional acting

Stanislavsky forced me to reexaime my negative reaction to emotional acting.

This need for a method of consistently arriving at creativity seemed to point to an answer that I myself had been looking for.

The illusion of the first time.

Emotion recollected in tranquility

Stanislavky always seemed to fade into the character.

He was convinced that the audience was entirely in his power. At the end of the play he was surprised to find that the other actors avoided him. His performance had ben a failure, although he himself had felt a real satisfaction in what he was doing on the stage.

Not only physical makeup but spiritual makeup was necessary before every performance

Movement without tension

Criticism of the actors too intense involvement with his own psych, with insufficient outward expressiveness.

Always have a reason, a problem, a cause for appearing on the stage.

Possession of this capacity to respond to imaginary stimuli is what characterises the nature of the actor’s talent.

The handling of real objects on the stage does not train the actor to solve the problem of the stage experience.

An actor could experience and yet not be able to express an emotion

I had to find ways of dealing with an actor’s mannerisms that obscured the truth of expression that involves the relationship between intensity of feeling and emotion.

Concentration is the key to have has been loosely thought of as imagination

Relaxation is only a prelude to the actor’s central concern: the need for concentration.

Tension – not as mental or emotional disturbance, but as the generation of unnecessary energy that interferes with the normal functioning of the human being – is part of the natural state of living.

The problem of expression – as a means of sharing one’s individual way of experiencing.

The human instrument.