The "topic" is the content of the story, and there has to be some mutual understanding about it by the writer/director/actor/audience for it to mean anything. It seems like the potential importance of the "role" is to say some messages can't be communicated without an actor who is taken to be sincere. That's what I have a problem with.
On 1/28/19, 1:55 PM, "Friam on behalf of uǝlƃ ☣" <[email protected] on behalf of [email protected]> wrote: OK. Again, I don't think I disagree with (what I think) you're saying. But I am having trouble understanding why this is related to the difference between an undercover LEO versus a method actor. Are you willing to connect the dots more explicitly? Although I agree with the gist of what you've said just below, I disagree with the (apparent) implication that an actor gets their story from *the* play/movie script. From what I've heard, an actor has to dig into their private, more grounded, stories in order to do a good job exhibiting the emotion the play/movie script (and the director in particular) need. Pile that ambiguity underneath the ambiguity that any good play/movie will *also* rely on the private stories inside the audience members. And that goes beyond merely ambiguous endings or director/theater cuts. It might lie in every inflection and movement of the actor(s). An actor *without* a backstory, more finely granulated, than that presented in the script alone, will likely give a flatter/2D performance. Even if (or especially because) the audience member can't "feel like"/empathize with the actor, they will likely have (or not) a "believability" or "suspension of disbelief" that percolates through the performance. On 1/28/19 12:40 PM, Marcus Daniels wrote: > I would again make a distinction between private stories and public stories. I may delude myself, but I also have a set of experiences that are only mine and that I either could not or would not share. My self-stories (and dreams) are grounded in a way the stories I read are not. A fiction writer is trying to be entertaining, or at least sell books. An opinion writer is trying to persuade or manipulate. The actor's story comes from a script, and in that sense the it is static. A diary is distinct from these. There aren't the degrees of freedom available in a real life that are available to a writer inventing characters. Empathy one extracts from a story is not actually empathy, it is something that has been teed up for the reader. -- ☣ uǝlƃ ============================================================ FRIAM Applied Complexity Group listserv Meets Fridays 9a-11:30 at cafe at St. John's College to unsubscribe http://redfish.com/mailman/listinfo/friam_redfish.com archives back to 2003: http://friam.471366.n2.nabble.com/ FRIAM-COMIC http://friam-comic.blogspot.com/ by Dr. Strangelove ============================================================ FRIAM Applied Complexity Group listserv Meets Fridays 9a-11:30 at cafe at St. John's College to unsubscribe http://redfish.com/mailman/listinfo/friam_redfish.com archives back to 2003: http://friam.471366.n2.nabble.com/ FRIAM-COMIC http://friam-comic.blogspot.com/ by Dr. Strangelove
