I want to use my former craft as an aid to understanding some aspects of philosophy and psychology better. Or at least ask the question, do I have an existing knowledge that I can transform and use to access and use as a basis for comparison.
One outside historical subject comes to mind specifically in relation to Germany in the early 20th century which is the social and cultural role of these activities. The rise of the individual and his association with clubs, societies, ideology and identity.
Going through the motion certainly makes you identify with and feel a part of the subject. Mine was a technical training for a specific activity. The lessons came with a degree of health and safety instructions, particularly in relation to the breathing aspects, trance like states can be a side-effect of altering and slowing breath, not an aspect you want to have on the stage. Becoming to absorbed is also a danger, performance can become mistaken for some vast flowing golden glow of electrification.
Danger in becoming swept up and lost, eaten alive by the moment.
I see no value in attempting to write anything that can look like a how to set of instructions. These are activities that depend on experience the only value I can see is in regard to analysis and comparison.
I want to use my relationship with acting and movement as a base of comparison but I would like to lose sight of it when I can identify the features that are useful (or not useful) and allow it to become something else.
In regard to my past I wonder how much lessons learned here affect how I read? My normal trick when I don’t know a subject is to reach for a range of unrelated subjects, that seem to have some shared structure or pattern I can play with. Tension, movement in discordant rhythm. I would not have framed it that way before last night and would have identified it as an individual learning strategy I had developed to deal with the some of the limitations and strengths of dyslexia.
I now have to examine the extent to which I may be having a certain dog like experience here. That I may be simply be responding to a bell that was rung, thirty years ago.
I need to start in a very specific place and with a very specific goal of an actor, what do you use to alter and be something else in a performance?
How do you identify and learn the moves from the lines? Specifically how do words and objects, open and allow a sense of rhythm and how do these rhythms allow you to examine and explore the potential nature of other things?
In words it sounds rather clunky, overblown and grand. The realty is perfectly straight forward and easily within grasp. It can be easily felt, as such things have to be this way.
It can in the first instance be rather difficult to see.