Method of being FAKE, H.M.

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Method of being Fake

_{followed by the institution of ibuprofen}

   My practice helps to structure a technique of a disciplined mechanism, to plan and design a procedure and find the logic form of patterns in my routine.

Seeing lights @ Roodkapje, Rotterdam, 2018

I used eleven synonyms of "method"(from WIKI) to create one sentence, which basically reflects on the abstraction of my working/creating/living method.

In the meaning of repeating patterns, exploring depth knowledge or creating mistakes in my relationship. I know from my youth that I always have been fast enough to make links and recognize patterns in several situations, few of them might turn out to be a pure fantasy though.

To keep my mind floating, but not blowing away during my creating process I figured it out, somewhere of the beginning of my puberty years, that I like to follow the master of realism, K. Stanislavsky. Who already invented one of his "method" - a process in which you immerse yourself in a character as much as possible - an acting philosophy/technique/aesthetic, it's affirmation of Freudian psychology, and it focuses on adolescent rebellion and quickly became a natural dramatic expression in the early 20', mostly in America and Western countries and Russia.

Few elements of his method, which makes me feel comfortable in my interdisciplinary self-expression. The "Magic If", just ask the question "What would I do if I were in this situation?" and the point is coming when you are able to answer it. "Re-education" Stanislavsky compelled actors to find ways to exhibit true-to-life human nature, while still being able to project loudly enough for a favourite to hear. My favourite part, "Observation", means you carefully study and observe others and situations, focusing on several aspects. To see their physical traits as much as their personalities. Then you'll see clearly that every person is unique, not really original, but at least unique. The most boring part, "Motivation", this is the hard work for me, to find and keep the energy to ask and answer the "why". There is one more element, "Emotional memory", is a technique where the actor uses an emotion they once felt and applies it to how the character is feeling on the assumption it is applicable, for example, if the character has just been left out by someone, the actor would think back to where in their life felt left out, thus allowing them to connect to the character and to the emotions the character is feeling.

However, emotion memory although effective needs to be controlled or an actor could lose themselves in their own emotions when they are supposed to be feeling the characters this taking away the actual acting and it becomes self-indulgence for the actor as acting is essentially lying. As an actor, you can example found emotion memory to be effective when playing Anya (mother in hun) in the Cherry Orchard by Anton Chekhov as the section Anya feels sorry for her mother, the pity essence being something you felt before so you could use this when playing the character and this way your performance is more believable. In comparison to the other Stanislavsky techniques I'm talking about I would consider this technique 3rd useful out of all the others.

Harvesting my own method trough Stanislavsky, the conclusion about my loved ideology - as an artist I don't have to do anything else, but follow my true target - indeed there are not too many ideologies we could follow, I mean in two thousand eighteen, we are living the generation of sceptics and skepticism again. And now I'm not making a moral discussion about it, not questioning the goods or the bads of being superstitious "A healthy scepticism while in a car dealership will keep you from buying a lemon'. An unhealthy scepticism might prevent you from obtaining a reliable means of transport." Bill Shipley