C-158. The challenge of dramatic production
Writer, director, producer, designer, actor et al, together in some role arrangement, face the challenge of producing performances, by their distinctive modes of composing: a realization via Realization . We can now see that a transformative performance is required, a transformation from behavioral entity, bE, (C-114) to R-entity (C-147).
Each actor’s part must become something other than a stereotype of recognized bE characteristics … and something more (e.g., “inspired”) than a showy exemplar of a bE’s skills (e.g., as of declamation).
This is how fiction can be truer than fact. This is about arranging the actor’s behavior, re the various and numerous mindings and movings involved in Tells, about solving the behavioral problem (I:Pbeh) … and not just re situational problems (I:Psit) which the plot comprises. This is about general and not just particular circumstances (II), the general persisting conditions, GPC, of the Nature of Things (III) – i.e., partial order, consequentiality and (bE or RE) discontinuity.
These general circumstances, for example, provide an emotive and cognitive foundation for Shakespeare’s potential transformative effect in Hamlet’s “… to be or not to be…” soliloquy: the angst of discontinuity’s aloneness and of sleep’s consequentiality in a world whose Course (C-139) is more marked by fatalities than steered by fate.
For fiction to be truer than fact in representations of the human condition, the ensemble of arrangers (writer, director, actor et al) must make the actor’s role draw on the GPC for that thread of functionality (F) which begins with the needed functionality (NF)imposed by those GPC – that unending life-thread of “NF … F… NF … F … NF…” (C-115).
The R-transform (C-111), with its NF initiation (App. XIX), and with NF as the “other missing link” (C-144) back to the Nature of Things, provides a path for the transformation from bE to RE.
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Shakespeare has Course. His works are rich in Course. And then there’s the edge poetry can have over prose.
Off-stage, so to speak, our conduct lacks much of this compositional richness. There is more drama in what happens to us than in what we make to happen. Our steps more often are learned particulars, by imitation and/or instruction. And then refined, more or less, by particular consequences. The “art of art” is underplayed. Too much an imbalance of capacity over capability (XI; C-71)?
Beyond the (observational) domain of biology, our Grasp Involve (C-105) needed functionality and potential resource extends impressively, yet still but tentatively, into the CEM-history (App. XI) domain of cognition, communication, composition and community … wherein lie the solutions to our most vexing problems.
(c) 2016 R. F. Carter
Each actor’s part must become something other than a stereotype of recognized bE characteristics … and something more (e.g., “inspired”) than a showy exemplar of a bE’s skills (e.g., as of declamation).
This is how fiction can be truer than fact. This is about arranging the actor’s behavior, re the various and numerous mindings and movings involved in Tells, about solving the behavioral problem (I:Pbeh) … and not just re situational problems (I:Psit) which the plot comprises. This is about general and not just particular circumstances (II), the general persisting conditions, GPC, of the Nature of Things (III) – i.e., partial order, consequentiality and (bE or RE) discontinuity.
These general circumstances, for example, provide an emotive and cognitive foundation for Shakespeare’s potential transformative effect in Hamlet’s “… to be or not to be…” soliloquy: the angst of discontinuity’s aloneness and of sleep’s consequentiality in a world whose Course (C-139) is more marked by fatalities than steered by fate.
For fiction to be truer than fact in representations of the human condition, the ensemble of arrangers (writer, director, actor et al) must make the actor’s role draw on the GPC for that thread of functionality (F) which begins with the needed functionality (NF)imposed by those GPC – that unending life-thread of “NF … F… NF … F … NF…” (C-115).
The R-transform (C-111), with its NF initiation (App. XIX), and with NF as the “other missing link” (C-144) back to the Nature of Things, provides a path for the transformation from bE to RE.
Shakespeare has Course. His works are rich in Course. And then there’s the edge poetry can have over prose.
Off-stage, so to speak, our conduct lacks much of this compositional richness. There is more drama in what happens to us than in what we make to happen. Our steps more often are learned particulars, by imitation and/or instruction. And then refined, more or less, by particular consequences. The “art of art” is underplayed. Too much an imbalance of capacity over capability (XI; C-71)?
Beyond the (observational) domain of biology, our Grasp Involve (C-105) needed functionality and potential resource extends impressively, yet still but tentatively, into the CEM-history (App. XI) domain of cognition, communication, composition and community … wherein lie the solutions to our most vexing problems.
(c) 2016 R. F. Carter
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