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Stagevision

STAGEVISION

 

 

By

Edward E. Rochon

 

 

 

Shakespir EDITION

 

 

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PUBLISHED BY:

Edward E. Rochon on Shakespir

 

 

Stagevision

Copyright © 2017 by Edward E. Rochon

 

 

 

Thank you for downloading this eBook. This book may not be reproduced, copied and distributed for non-commercial purposes, unless prior permission is given by the author.

 

Your support and respect for the property of this author is appreciated.

 

 

 

 

Some Other Works by the Author
(Available Online)

 

[City of Light: An Essay
Comedy: An Essay
Cosmic Despair: An Essay
Mechanical Acting: An Essay
Misery Mandala
Show Biz Crap
The Waist Land: A Parody
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Reading Material

 

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Table of Contents

Title Page

Preface

Chapter 1: Cost and Facility

Chapter 2: Synaptic Symphony

Chapter 3: The Set

Chapter 4: Some Goals

About the Author

Preface

Stagevision is the fusion of stage and recorded acting at a higher stage of integration than we used to see back in the 1950’s on television. This can be used for any sort of drama, but my primary interest is theater for education, for physical and mental health. By increasing the value to society of dramatic arts, we hope to expand employment for those involved in these arts and enrich society, both figuratively and literally.

To be sure, this process is ongoing now and offers an approach to increase dramatic productions for those who perform, produce and watch. My essay: Mechanical Acting: An Essay is to date my most popular download. That essay is more technical than emotive and intuitive. Stagevision is even more so.

We begin by noting increasing expense in traditional production of dramatic arts in all forms: stage, television and film. Certainly, fewer jobs, and/or cutting back on salary are options to keep production viable. With that follows the description of Stagevision as primarily therapeutic rather than sex and violence as a thrill or purge that supposedly has therapeutic benefit. Back to Table of Content

 

 

Chapter 1: Cost and Facility

With the advent of film and television, fewer people attended theater. Costs rose dramatically to cover overhead and, with rise of living standards, to pay higher wages demanded by unions. Mel Brooks facetiously suggested in one of his musicals that productions can be staged to make money off of tax write offs for failed plays. Certainly, charity and losses can be used to cut income taxes for people and corporations. Profits may be buried in expenses to effect this. We hear of these things, though the author has no desire to examine this matter nor detailed knowledge of the state of this matter either in the past or present. Tax laws change over the decades. We suppose television and film industries wish to write off expenses as well.

Major players in film production have suggested that continued trends could push cinema tickets to as high as $100 or so. Television, faced with rising costs, produces fewer season series programs, is more inclined to reality television to keep costs down, and must compete with a far greater range of viewer options for strictly dramatic offerings. The production of fewer sitcoms, shoot ‘em up, car crash shows in lieu of more documentaries on history, science, arts, culture is hardly a catastrophe in and of itself. Many of these end up being docudramas that give employment to actors, production crews at union salary. We have sex and car crashes by happenstance, as these types of events are as you might suppose of greater dramatic impact.

Many people love the arts and put up with unemployment and poverty for long periods. There is also art for arts sake, that more properly should be art for man’s overall wellbeing. Long convention has always held exercising the arts as useful to life by indirect and direct means. It is a good avocation in its various modes to make men wiser, more competent and healthier, providing perverse thrill seeking does not detract from the healthful benefits of the dramatic arts and the other arts. Dramatic arts overlap with virtually all other arts: painting, architecture, sculpting on occasion, music, dancing, singing as well as public speaking, public presence, relaxation, physical therapy, emotional contentment.

Drama has its critics. Acting is impersonation and thought of as mendacious: to wit, the Great Impersonator, Satan. It is deemed frivolous, addictive, lascivious, promoting violence and hyperactivity. We contend that the ultimate goal of the arts and sciences is truth, from whence is the only source of wisdom. False notions are folly by the most obvious of perception. Wisdom keeps us healthy in mind and body, if anything can in practical life, and aids in the pursuit of the sciences by aiding the mind and body to perform as needed. The good actor, artist, must make his body, his work conform to his demands and the demands called upon. This is all wisdom and wisdom is the tree of life by this/these fact(s).

We know that most theater is climactic, and has been from the dim past. This leads to sex and violence on the set. Sex is among the most intense and natural of pleasurable experiences whether physically or by voyeurism of some sort. Car crashes get the adrenaline up, along with fist fights, duels with weapons, psychological conflict as satire, comedy, drama. Nevertheless, I am sure, and convinced sensible people are convinced that a steady state of wellbeing that comes from healthy lifestyle, healthy attitudes, increased wisdom and capacity, form the basis for a paradise upon the earth to any extent that is possible.

What is the dictum the actor is taught? Conflict is the heart of drama; find the conflict. What are my thoughts upon the dictum?

Finding the conflict is like walking down Broadway, the streets of New York. Many do not clean up after their dogs. Neglect and disregard for duties and others is endemic in the world. Step into the crap and the conflict begins, the irritation, the anger, the cursing. How hard it is to get out of the grooves of footwear that has the crap ground in. How humiliating to soil the rugs of friends, employers or your own floor by missed bits. Oh, yes, the sparks fly. Bill Cosby says there is a nut in every subway car in New York. The world is full of odd people, maybe someone that likes to step in each pile of dog crap he happens to pass by. Is there a Simon and Garfunkel song here, or Randy Newman mocking the Big Apple?

By all means, find the conflict, the dog crap. Afterward, spend the rest of the rehearsals, subtext development and production run in avoiding the conflict to the extent possible. Well, you must conform to the the play. Yet, truth avows that most men, sensible men, do what they can do to avoid muck and trouble in life. Focus on the small things in characterization. Make exposition as absorbing as possible. Let the audience pick up subtlety of character. Less is better as they say in Show Biz. The climax is in the play by default. If you develop the minute details, allow the audience to watch with ease and grace, while at the same time fully absorbed by the performer: this is great acting. What do I mean by audience ease and grace? They do not have a difficult time following the plot, subplots, characterizations, unless that is deliberately intended (mysteries, detective stories), and the intended mysteries should flow easily in performance. Hold the audience attention in the minutiae, and the climax will be a breeze.

Make your character a joy to watch: a bit humorous without jokes, a bit mysterious, esthetically graceful, the second string looker actress that exudes beauty. Horrendous evil with the lift of the left eyebrow, the compassion of Christ with the glance of the eye!

No matter how hard things are, it is to your advantage to make it look easy, and people are amazed at how easy it appears. And in part, it is easier, though the performer sweated, stumbled for weeks, months, years of trial and error to make it look so. For all that, the audience could not do it by any means, or without great effort. So with training comes ease by default. With ease comes grace by default. Good acting and performance is precisely to the extent you do the deed with ease and grace. This, not conflict, is the heart of acting. A great many actors and performers come from hard knocks life and risk burning themselves out with conflict. They have conflict on their fingertips and need little help in showing it by comparison to more stable lives. Ease and grace is hard as can be, and many a clumsy stumble and screw up leaves grace a rainbow vision to be ever pursued. And why not pursue it? It is the joy of life and helps keep the artist whole and content.

As for the script that demands stomping in every pile of crap, playing opposites might help. Some vague healthy instinct could be in the background to produce a stronger performance for your crap stomping fool.

So ease and grace hold the audience attention for educational and therapeutic purposes, my primary concern. The angst of not learning well, wasting time is likely in the background. We like to be bright flames of intuition, erudition, candles to the the benighted, examples for the kids.

The next chapter deals with a premise. Back to Table of Content

 

 

Chapter 2: The Synaptic Symphony

We all know that some people teach a course or teach in general better than other teachers. Because they do not know the subject well themselves? Because they do not have well organized minds? Because they did not prepare their material to the best effect at conveyance of the subject matter? Because they have psychological problems in teaching: embarrassment, shyness, the hots for that leggy sophomore in the front row, the beef cake stud over there? Time is money; wisdom is essential for health, wealth and the very process of becoming wise itself. The pursuit of wisdom inculcates and inspires the acquisition of wisdom.

We have many things at work: charts, visuals and audio recordings. We have the lecture, give and take between students and teacher. We have the teacher noting the body language and faces of the auditors, whether they seem to grasp the lecture. The students observe the body language and intonation of the teacher. Is he confident in delivering his lecture so as to indicate his own comprehension of the subject? Does it look like a put on, a bravura performance to hide his ignorance? Is the student a good learner? Does he actually listen or hear only to condemn, sneer? He is dyslexic, has other learning problems? Does the teacher, student look sick? Is that a matter to take under consideration? Is the college, community or world in some distress enough to distract the minds of the class? What time of day is it, day of the week, season, year of study? Do some intense classes work better at more alert times than others? Are easier, more intuitive subjects better suited to later in the day when the power of suggestion or the less rational faculties could nevertheless pick up emotional content, intuitive content over matters such as music, art in general, general psychological matters rather than testing statistics? Does culture influence learning? Certainly, vagaries in language have some influence according to the case. A bilingual Franco-anglophone might modify his delivery, or maybe not, but the Sino-anglophone might be advised to change his, due to larger cultural variations. Not looking at these myself, we merely wish to list potential problems without considering where the analysis is worth the teacher’s effort.

We suppose that in stagevision (theater and audiovisual combined) there are one or several combinations of integrated sensory inputs that will give a much faster and more comprehensive result for learning, for comprehending the full impact of the drama in that case at hand. There is a music of the axons, a harmony of the synapses that produces an enhanced effect upon the brain. This follows natural and inculcated natural tendencies (the natural way the brain learns culture and habits) that produce the desired effect. In a number of cases, as with computer architecture, the method must be rewritten into the new cultural milieu, or human type milieu (could be sex difference, age, body type, biological tendencies toward more or less aggressiveness, shyness, attention span, tendency to favor one sense over others.) According to the computer analogy, I do not particularly care for higher languages such as C, C+, C++ or others. Machine language gives the programmer maximum understanding of the matter. We have sophisticated text editors and processing of CAD/CAM data that the Grace Hopper crowd, Alan Turing successors, did not immediately have. The case was always bad, in my opinion, for such languages. Machine language is talking in God's language to machines. The fact is, these languages are prone to bugs and deficiencies that ADHD, demonic, idiot-savant, savant-idiot hackers love to penetrate. You want truly good code? Port from architecture to architecture directly with people who understand that architecture by default, and greatly aided by CAD/CAM to enhance any deficiencies in knowledge that they have.

Are any of these matters taken into account by the faculty, the individual professors? Are they wise to ignore these factors? Surely, there must be some influence on learning by the matters brought up here. Enough to go through the whole reconciliation of staff and course requirements? Are schools really all that good, or is self-instruction with some help by tutors one-on-one better? What about on the job training? Is it wise to force students to learn what they do not want to learn, will forget shortly, and resent learning in the first place, simply because some academes view it as expedient for the ‘well rounded man’?

Let us get even more detailed. What precise parameters influence absorption of subject matter into the brain and mind? We all have similar traits, though certainly with individual variations that could make a lesser or greater impact on learning. Will modern technology, intense collation of statistics, give us a better understanding of the mind than Plato or Aristotle had? Were those two all that smart, truly interested in teaching, or simply pretentious pedants bent on making themselves look superior to the hoi polloi, making up excuses for leaving men in ignorance, hiding their own incapacities as teachers and scholars? Surely, if you pay someone a good salary and under decent work conditions, he will study butterfly behavior, look for cross references in the Bible, Shakespeare, Homer. Even if dull, given good bonuses for good work, his own desire to magnify his personal options, liberties, own particular pursuits, will make the most boring of subjects of interest by default. Of course, this is true. But Plato and Aristotle want their grubby little utopias or best wretched half-assed utopia under the circumstances. And by all means. let us divide up humanity into categories to sate the neurotic quack doctor’s son (Aristotle) for false wisdom cloaked in suspect data and surmises.

How to effect the method? Drill, drill, drill, recon, recon, recon, Do we have music as an aid? The composer, conductors, players, study the matter or reference others who have researched the matter. Where does the cinematographer point his camera, the editor splice the film/video? He studies or references those who have studied the matter. Is there an interweaving of music and video feed? Work it out with director and/or producers as referees. What is the right set design? Study the matter and interweave with audio and visual. One shot angle of behavior or several types of related shots are likely better than others, and may be modified according to input from audio and visual. What is the timing of delivery? Actors and directors pay attention. One moment and line may be too slow, one too fast, others right within parameters of the production. What clothing should be worn? In fact, we know that people lock into such things when picking up information. The colors and what is worn can have an effect on human memory, and I personally know this from experience. Certainly, it influences drama. A number of actors key into their performances by noting what they wear and how it indicates the personality of the characterization in the mind of the audiences, and so their own.

Introduction music, information, video and voice can set up a work to good effect. The closing titles can enhance the learning experience. The title people should strive through music and effects to keep the audience in their seats to pick up useful information. We do know that many walk out on these in theaters: bathroom rush, out of parking lot rush, running late, etc. In particular, in educational stagevision, we should use the time to whatever affect we can derive. How to know? Test audiences, test production crews and yourself. The whole Hollywood thing is in play.

We are looking for what I call the formula. What is the formula? Say it takes 60 minutes for student cooks to make a decent loaf of sourdough bread after a DVD viewing. We want to reduce that to 6 minutes ideally, and use the remaining 54 minutes to discuss quality of ingredients and how and where to get them, maybe some serving suggestions, some useful suggestions on nutrition, shelf life and how to extend it and so on. We also want this information to remain in the mind of the person for longer periods, ten times longer and so on. We do this by compressing the information in the brain by efficient algorithms that we have tapped into. We are growing confident that the brain uses algorithms to recreate memory. We mean, by analogy, that a graphics file is not stored byte by byte, but compressed. And not only compressed, but algorithms and brain functions are pointed to by pointers to recreate memory from areas of the brain that can do this. Does this lead to distortion and corruption of memory? We suppose, and we suppose this is also a learning matter that might be minimized by correct delivery of training. The brain has innate structure and methods across human subjects. There are undoubtedly variances and compensatory matters. We know how the deaf compensate for deafness, the blind for blindness. A man with defective or impaired vision is likely to do the same without actually being blind. With modern computers and techniques and by increasing living standards by diligent advances in economy, we open up specialized features to train variant types. To be sure, we have movies for the deaf. This is a crude variant of what I am suggesting. We want to make the deaf get more and a multitude or variations in between.

Nothing is particularly new here but merely the push to maximize it as a major integration into culture. Theater, TV and film are faltering at the limit of their reach. Prices rise as economics work against them, expense and price work to make them moribund. Let us move on. We get a little into what the stagevision set looks like next. Back to Table of Content

 

 

Chapter 3: The Set

Minicams and high quality sound are flourishing. We worry about Big Brother, and why not. The world is full of spies, miscreants. We use the same technology to protect our privacy in our homes and office. The battle goes on in offensive and defensive reconnaissance.

We also have HDTV and large screens at ever lower costs. We have actors who tire of learning lines, while purists still insist upon and learn by rote. Theater is moribund and does not pay. High unemployment in the theater arts and all arts is depressing. Most of those who work often work often. The vast majority do not work period. So 90% unemployment or higher is in fact even higher for this reason and because many more want to act but are not in the union due to schooling, finances or other reasons. This gives corrupt people leverage to exploit the artist. Sexual harassment and exploitation is high, and nobody cares, as they are all just mountebanks and whores, the sons of perdition, Old Nick, the great impersonator's children. Many are whores. There is the borderline between whore and friendship and knowing who you can trust, the jealous eye that accuses foul play when simple commonsense is all that is involved.

We strive to make name actors more likely to participate in stagevision than in theater, once having made it in the Hollywood. We increase opportunity for employment by spilling out art into mental health and education greater than ever before. We make art more a part of life than ever before. Teachers teach art rather than business and feel no guilt in encouraging fools into a ruthless business, or salving their consciences by warning them. We state point blank that art is good for the soul, good for the man as man, and so good for his job, family, circle of friends, intellectual development. This has always been the excuse for it and it is a good one. We aim to turn it into a money making function as well that clearly justifies itself through wisdom and health. Get wisdom. That is the chief thing, more valuable than gold. If you haven’t got your health, you have nothing. We say: make students wiser and healthier, and do not talk to me about your income. Do what you please in that matter. Talk to your PR man, not your acting, theater arts folks, if you are frustrated in show biz. This also is known.

We have theater and monitors, cameras and mikes in hidden places, offstage, before the proscenium or equivalent as required. We have live audiences and remote audiences. We have prompters for audience and actors for the lines available. The actor is welcome to know his lines by heart. The audience can do the same. They sometimes do know the lines as well or better than the actors, rarely. We have sets off stage that make work with green screen and scenery displayed in real time. We have panoramic theater shots and up close cinema shots going at once. We could have some scenes in adjoining sets not open to the public in some cases. The live audience chooses what to look at moment by moment. The director and editor consider how best to coach the audience to look at the best mix without straining or wearying their eyes, confusing their attention span. Each audience member has his freedom to look where he pleases, as always. The director and actors have their means of channeling the attention of all or most viewers, and actually completely hiding other matters from them. What cannot be seen is not there to confuse. The expert may know what is hidden. The audience to enjoy and learn is likely not there to criticize per se, unless very angry by low quality production values.

The director considers live audience and video feed audience. He can repeat the performance over and over as in stage. He can modify the video output to improve it. He can offer multiple showings by selection on cable TV. The audience may watch repeats to see what is better or not. A list of assets can be stored cheaply, as the live audience continues to pay, and overhead is laid against cable revenues.

We all love those cinema close ups so hard to get on stage, don’t we? The eye is the window to the soul. How much drama a good actor can place there to improve the performance. And the real world is still important for so many. Live theater enervates and challenges actors more than film and TV in many ways, though the other medium has its challenges too, and opportunities. Ad hoc production works better on film than stage. The final product is all that is seen, and this is not really improvisation by that reason.

Murphy’s Law says everything that can screw up will screw up. Anything in the beginning screws up more in the beginning than at the mature stage. We strive for McMurphy’s Law. When you are on a role, you’re on a role. When you’re hot, you’re hot, and when you’re not, you’re not. I know that stagevision is a great idea that is in the formation process right now, waiting to flower. Stage has many forms and been in development over 5,000 years. Film has developed for over a century, television for 75 years or so. Things get better. Special effects get better. Audience values vary according to new technology. We have 500 channels and people complain. “I have 500 channels and nothing to watch.” We must fill in the void. Stagevision is cheaper, yet more income generating than theater in theory. It is more focused than big production films with 25 million dollar actors with percentages off the top and agents and staff to support. The famous actor is more likely to do stagevision when not absolutely required to memorize lines and blocking. His blocking prompt could be on his hidden screen next to the camera. He need only do a short run, his understudy taking over. Watch Tom Cruise before he parts for Hollywood. But hey, maybe his understudy will impress the audience, and challenge Cruise for the big production. Ooh, Tom better make sure he does his best. And production is faster and cheaper, gives Cruise and Mirren more options to play at a salary more in line with what they expect, without the wear and tear of theater in traditional setting.

So we have the stage, strategically placed HDTV screens around (or even behind the actors), offstage sets that can be seen in green screen immediate background mode. We have the script above and behind stage for actors and audiences to read. People sometimes like this. Nobody forces them to read it. Nobody forces actors to pick up lines from the prompters. We can do the Hamlet stuff, Billy Bigelow stuff as well. My primary concern is health and education, all working to advance the other.

Some suggestions follow in the next chapter. Back to Table of Content

 

 

Chapter 4: Some Goals

With the ever decreasing cost of theater and audio-video equipment, we have the option of hospitals expanding the auditorium space for theater arts. Schools and community theater has and does offer entertainment to hospitals and senior living centers. We believe arts have a vital role in mental health both to performers and audiences. Music helps patients and enlivens tedium. Performers can offer more than celebrity persona to the infirm. Direct aid in rehabilitation is possible, in particular in mental health. All art has therapeutic value. The theater arts are the highest achievers in this. I speak of art, not show biz, that can be a big downer. Psychiatric wards can be comforting but also debilitating by their very isolation. Look at some old saws about acting and actors.

James Lipton talks to his actors and constantly notes their broken families and stressful lives, and wonders why this is so, one of his stock questions it seems. Screwed up people enter a screwed up profession because they cannot function in any other business? The acting coach recommends staying out of acting unless you cannot function as anything else. Such people make easier victims in an exploitative business with high unemployment. Impaired women crave sexual union in the nymphomaniac traditional surmise and show biz is sex and violence. People from broken homes are confused, often feel abused and often are, and so are angry people with violence problems. Sex and car crashes are right up their alley. Their broken family lives are devoid of role models in romance and life. They crave control and modeling through acting to appear as whole human beings? Abuse tends to lead to withdrawal. Schizophrenia is separation by definition. Shyness is common among actors and a minor form of schizophrenia? Autism is some kind of withdrawal by chemical, social or other brain impairing means and strives for safety through control and repetition, great for acting method. Depressed people find sexual and violent conflict stimulating. Depressed people are known to have a more realistic view of life, as opposed to normal people, though the depressed are supposed to have a blue tinted view of the world and so distorted view. Paranoia is common to actors. Nobody is watching me. Some actor I am! Everybody is looking at me, laughing at me or is it with me? The simple schizophrenic is without paranoia and a basket case. The greater the paranoia the more functional the schizophrenic. Acting produces paranoia by fame, infamy, or by lost in the crowd invisibility, in whichever case. The fact is, the somber face is the sane face, the paranoid is the one who knows his world best. Rose tinted glasses delusion is not sanity. Ignoring the darkness of life is not sanity.

Mental health attracts the mentally distraught. Many a visitor has noted that the staff seem more queer than the patients in many cases. Let the world into the asylum, please. Let the actors go where their nature inclines them, as crazy as the staff and clientele.

Pay expenses for production for free. Give stipends according to dramatic impact on patients by questionnaire. They like me, really like me, the maniacs really like me. A stipend, a bonus, how thrilling! Nothing’s going to stop me now. Grace Slick move over on that starship to the stars. How about some tutoring, some details about characters after the play? How about the audience participation thing dinner theater at the psych ward? How about big star thrill seeking? Sorry, guys, I’m not very charitable but love to look at loons look at me look at them look at me, the never ending ping-pong eye thing. Oh, that five minute grace period is great before anybody cares whether I am any good at what I am doing. Why isn’t it at least ten minutes, with my credits, star appeal? Oh, don’t forget to fill out my fourteen page questionnaire on why you find me absolutely fascinating. Why people are fascinated with me has always been fascinating to me. If you plan to stalk me, murder me, put that down as well, and the reasons why. Be sure to fill out the past felony convictions, if any, for stalking, harassment, etc.

Really good repertory companies with unique talents may charge for health services, vouched by certificates and validated by staff.

Note some things about autism. They have difficulty bonding with humans. They seek great control and repetition in their lives. We are talking about the separation of actors from the audience by that proscenium leap, the repetitive requirements of a well produced theater piece. For all the addicted duelers, you have the actors who love the choreography of the fight scene, where miraculously no one is harmed due to the great discipline and training of rehearsals. You have the wounded soul that flowers on stage with the help of rigid repetition of script, blocking and and stage direction. The mishap happens and improvisation is required. Even that is in a controlled fashion within limits. The sick man knows his impairment. Dare he push himself to open up his caged life?

The autistic child, man is in a similar boat. Human nature indicates this. Conditioning can change the brain, in so doing, change its chemistry, habitual ways of dealing with life, more prominently breaking traditional modes for a more spontaneous life. Improvisation under controlled supervision and in the parameters of a stagevision production could help here.

The theater arts therapist must study his actor as the jeweler studies the raw gemstone. We must not break, but clean away unuseful debris. But humans are not rigid and only half the metaphor. She must stretch the actor, not break or humiliate. Deep down, the fear of the actor is relieved that he has managed to break out of his bonds in a way that allows him the control that he craves to maintain his integrity, to stave off phobia.

Bring in the mothers. Study the child/man. Look for openings in the walls that might be used to stretch the world of the actor. Find an enticement sufficient to perform the rigid role, but not so threatening as to create terror and rejection. Let the mother and family act with the patient. Let fellow patients play in an asylum setting. Let us stretch the brain and rewire as the great actor stretches and rewires for his roles. We are clearly on to something here. We need directors of great subtlety, actors who can accommodate the other to get the proper dance, the right scene, the right duet.

Professional actors with autistic children may offer contributions here. We certainly do not want to cause fits, but who knows the siblings better than the parents, or better able to study the magic chemistry of a good performance? I have some suggestions.

Look for openings. Does your child have any interest in television programs, movies, ever taken to the stage? To mimic is highly disciplined and regimented in getting down the role pat. Watch for excessive frustration and attempt to assuage, veer off tantrums and defeatism.

Try and work yourselves (parents) into some role. Each role breaks down inhibitions as with actors in general to some extent. Each role makes the brain more plastic. Make believe emotions can turn into real emotions. Do you know the trick? Smile deliberately. If it is false, fake, keep smiling until your embarrassment makes you smile in mockery of yourself, or a general sense of the ridiculous makes you smile. At a job interview, your nervousness forces you to smile for real in foolish tension relief. Force the fake until it becomes real. My God, I look like a fool, how ridiculous. That’s right, now it comes for real just to relieve the stress. And yes, keep laughing until it sounds real. Faking laughter is easier than smiles. And you can in fact laugh out of joy or relief. There is no need for a joke. Coach the child to a put on smile or laugh if you can, and wait for nature to take its place with a real one.

Study and probe. Be careful. You are the jeweler cutting a valuable gemstone. The sparkling of the gem is the healthy sparkle of multifoliate emotional responses long muted. The gem is encrusted with dull aggregate that must be chipped off. The facets need to be brought to bright life by the master cutter, the actor parent. Keep a log. Pass on the information to others, to experts. Now what a performance, directorial/acting that will be. What subtextual brilliance, what improvisation, what a script of phoenix like regeneration of the heart of the child.

The researcher should delve into intuitive cognition of recognizable patterns from individual experience. Let your staff see if they can inspire themselves to find good pathways that will work for some, many or all.

Go the rote routine. Bring in volunteers. Compile statistics and analyze them. Bring in the babies, the kids, teenagers, seniors, magicians, tinkers, tailors and spies. What have you uncovered about the formula, the attempt to enhance human cognition to the superhuman, or is it human level from our subhuman benighted souls? Surely, the efficient mind is the ideal of the unfallen man. It is fallen man corrupted by animal and preternatural lust that is subhuman. The angels themselves fell from grace through lust into the mire and fire in search of becoming more than they were, only to become less. That’s a Billy Blake maxim, isn’t it? By trying to become more than human, we become less than human. Yes, but what is the full human potential? An endless journey, we might suppose. Let it be a glad day on a glad journey to a glad land.

I believe the basic tenet of stagevision is the greatest potential advance in theater arts in modern times. It is likely superior to both stage and audio-video in television and film. Thank you for reading my essay. Back to Table of Content

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[Other Works by the Author
(*]Available online[)*]

Collected Poems I
Collected Poems II
Elements of Physics: Matter
Elements of Physics: Space
Elements of Physics: Time
Unified Field Theory: An Essay
Space as Infinity II
Golden Age Essays
Golden Age Essays II
Golden Age Essays III
Golden Age Essays IV
Golden Age Essays V

 

About the Author

My current biography and contact links are posted at Shakespir.com/profile/view/EdRochon. My writings include essays, poetry and dramatic work. Though I write poetry, my main interest is essays about the panoply of human experience and knowledge. This includes philosophy, science and the liberal arts. Comments, reviews and critiques of my work are welcome. Thank you for reading my book.

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Stagevision

A preface notes high tech advances that open fusion of stage and TV as never before. Notes my most popular essay: Mechanical Acting: An Essay as an informal adjunct to this essay. Emphasizes learning and health of drama. Chapter 1 discusses using stagevision to get more high value content out there to fill up 500 channels and keep live acting closer to traditional stage with the obvious modifications. Some former ideas of ease and grace being the heart of acting rather than conflict open up to health and education as a prime mover with drama as an option to spread out overhead, development costs. and getting advantages in production from both stage and set. Chapter 2 talks about the Synaptic Symphony. An intense study figures out how to enhance learning and health benefits of theater arts to derive the formula. The formula adds factors that greatly reduce learning time by intense study of human nature and intense integration of production values as never before imagined. Chapter 3 discusses the set: buried cameras and mikes, offstage green screens with auto feed background shots, some offstage sets as garnish to the main stage, etc. Chapter 4 lays out some goals. We talk about theater arts and mental health and visits to wards and nursing homes, something that some schools and volunteers do already. We do this as an intense goal specific function to improve the audience by more targeted methods than just live stage over TV. We note how actors have some empathy with the mentally ill and idle. We suggest how theater arts may help with autism. We suggest actors with autistic children could help out. We propose theater arts therapy certificates. All arts work to improve the mind. It is highly beneficial, especially when done with skill and insight. A extra bit of pay for actors and crew rather than just opportunities to work at craft suggested.

  • ISBN: 9781370225446
  • Author: Edward E. Rochon
  • Published: 2017-09-21 01:35:14
  • Words: 6170
Stagevision Stagevision