Flawless (The Wealth of The Bewitched)

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Things Are As They Seem

“Mine eyes are stauls and my hands lime twigs”

Requires no further thought as it is moving and on its feet.

Memory is in the tension and relaxation of the muscles.

Without such control engaging in slight of hand and such deceit is not possible.

Emotionless, demonstration of complete control, an act of self- deception.

What you get, a brazen criminal, devoid of feeling.

Its as far from the truth as you can get. Nothing is as it seems, the intent is for the audience to believe the lie.

To make it feel what is hidden from view the audience has to be given every opportunity to deceive itself.

 

sleight of hand

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Tension in the left hand. Interesting. If you raise you’re palm and replicate it with the index finger, you really sense the muscle tension, In order to turn the hand round you have to relax the fingers first then tense them again after the movement.

It appears perceptible and involves both perception of the tension and a visible effort to force the muscles to relax before moving.

Tense them again on turning. It looks like a moment to speak. You have the immediate sensation of the the thing before any language is required.

Trail and error, conversely I can reverse the movement start with the fingers tense, relax, reverse look at my palm, ensure the muscular movement is relaxed and then speak.

The different ordering of sensation alters the sense. More effort to ensure control with this move. More an immediate sense of despair and lack of control if you reverse it.

Movement and sensation sets the tone.

First time I did it I did not relax my fingers before turning my hand, left me with a slight nagging pain. If habitual, that pain may be a more constant presence, It alters the way I clasp my hands as you want to apply some pressure to the tendon.

One simple move is altering further movement and has the potential to alter the sense and inflection further down the road if required.

Trail and error, even if it gets rejected down the road you learn something. If it works in the moment you run with it, if its not working it will alter itself.

Learning here is an accident waiting to happen. Things are never as they seem.

What Does It Sound Like?

Limed Souls: The Unmoved Mover

“Mine eyes are stauls and my hands lime twigs”

I have no idea. Its not the sound I have to think about that will come naturally. I can get a general sense, the sound has to fill every corner of the room, its not going to be natural, its projected sound, stauls will become staulz, to cut the sibilance etc, etc.

The standard rules of the, repetitively learned so require little thought. What requires work is it deceptive nature,  speech pattern is entirely artificial, high volume and dramatic,  yet it cant be heard that way it has to live.

I get the sense of what I have to do as the instructions are clearly written. Movement, eyes and hands. I need to work out what the movement between hand and eye is, then everything else will follow.

If I can sync sound and movement perfectly at the correct moment, its going to work. At the moment I don’t know what the move or moment is.

I have no sense of how this will move and sound, therefore at the moment I have no sense of what it is and what it does.

I don’t need to get to uptight about my ignorance. The words have been constructed from observation and retrospection. The retro activity of the writer may be beyond my scope but its drawn from and reflects life.

I can observe and look at the world around me.

I have a way in.

It needs to start happening in a glance.

This gives me my first issue. I require everyone in the room to be paying full attention before I open my mouth.

Every split second counts.

Then I have a balancing act. The subject has the power to attract or absorb, she is not without power, yet the mask has to slip, something else has to be seen, the subject does not know her own mind but the audience has to catch the turmoil and take something from it.

Something I don’t yet get, seems to be something further in the mix. Relationship between the craft of the whore the actor, the writer and the audience. A reflective processes, but one which does not appear to be happening in he mind of the subject? Perception of time, something the subject does not yet hold, beyond her grasp, sensed by its absence?

A living being has to be created and observed and experienced in the room. Each subject is engaged in the same processes.

How to deal with such complexity? Trail and error.

The stillness you can create with artificial controlled movement (motion is much slower than in real life) may be my friend.

I lower my head examine  the palm of my hand, turn it round, raise my head, the eye has to have it and I open my mouth.

If it works I have to have everyone in the room taken in hook line and sinker the moment I make eye contact.

If it fails you try again. Successes or fail is going to depend on the first move and first moment of eye contact.

Sense will come with the synchronization of sight and sound/ movement with speech. When the rhythm takes hold, sense will come.

A split second emotional read that everyone in the room can read and absorb.

Hit the moment correctly something stirs comes to life and holds the room. Resistance becomes futile, no escape from the moment.

My Eyes Are Stauls

Keeping It Real (mine eyes are stauls)

stall (n.1)

………. standing place, position, state…………… Old Norse stallr “pedestal for idols, altar; crib, manger………………….Several meanings, including that of “a stand for selling”……..probably are from (or influenced by) Anglo-French and Old French estal “station, position; stall of a stable; stall in a market; a standing still; a standing firm” (12c., Modern French étal “butcher’s stall”).

stall (n.2)

“pretense or evasive story to avoid doing something,” 1812, from earlier sense “thief’s assistant” (1590s, also staller), from a variant of stale “bird used as a decoy to lure other birds” (mid-15c.), from Anglo-French estale “decoy, pigeon used to lure a hawk” (13c., compare stool pigeon), literally “standstill,” from Old French estal “place, stand, stall,” from Frankish *stal- “position,” ultimately from Germanic and cognate with Old English steall (see stall (n.1)). Compare Old English stælhran “decoy reindeer,” German stellvogel “decoy bird.” Figurative sense of “deception, means of allurement” is first recorded 1520s. Also see stall (v.2).

stall (n.3)

“action of losing lift, power, or motion,”………….

stall (v.1)

“to come to a stand” (intransitive), c. 1400; “to become stuck or be set fast,” mid-15c., from Old French estale or Old English steall (see stall (n.1).

stall (v.2)

1590s, “distract a victim and thus screen a pickpocket from observation,” from stall (n.2) “decoy.” Meaning “to prevaricate, be evasive, play for time” is attested from 1903. Related: Stalled; stalling. Compare old slang stalling ken “house for receiving stolen goods” (1560s).

Reference

Online Etymology Dictionary