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strasberg acting

Lecture Series

Lecture Three:
The Laws of Organic Thinking and Logic, Intentional Dreaming, and Transformation

The most difficult thing to train in acting is the capacity to concentrate talent and imagination, along with our native intelligence and logic; to perceive and focus on, the essential imaginary realities in the play. What is Organic Thinking and Logic, and how does it enable us to perceive the essence of whatever reality we are investgating; getting to the bottom of things? What's important about it in the creative process? Are intelligence and consciousness assets to creativity (some schools of acting believe that it's bad for an actor to think, because they cannot perceive the difference between real thought, and intellectualized, ruminative thinking)? How do different systems train an actor's logic and thought process? (Some train actors to think about Objectives, Pre-conceived ideas, Personal emotional experiences, and other choices before becoming deeply involved in the imaginary world of the play; as opposed to involving talent and imagination to become involved with an imaginary world, and spontaneously create and discover life, intuitively and consciously). Actors do what they think they should do. If one discovers what they think they should be doing, one can fix most problems in their work process, and establish their ability to use their talent to the best of their capacity. Is art autobiographical, a transformative process, both, or something else? Why are some artists afraid of becoming conscious of what they do? Finally, it discusses and clarifies whether art be taught, and what are we teaching?

These laws are what guide the artist to transform reality, synthesizing their own experience and knowledge with the imaginary world of the play; to create a work of art.

Lecture Four:
The Laws of Determined Movement, the Sense of Truth, and Love

The creative process is regulated by the artist's inborn sense of truth, our capacity to know what is real; or what we sense and believe, intuitively or consciously, to be real. Can an illusion be real, and can reality be an illusion? One of the difficulties of this sense, is that the more one knows, the more one knows that what is true depends on the perspective from which one is perceiving reality. Change the perspective, and the truth changes: Though we know that there are simple and profound truths that guide our lives, and are the basis for what we believe life is.

Determination and love are the most important laws of creativity. Without them, no amount of talent, imagination, intelligence, intuition or spontaneity, or ability to transform can develop to their fullest capacity. Why do most people believe that one must suffer for one's art? Why does our education make us think that will and discipline are only used for doing things we do not love, or want to do; and why are we rarely capable of focusing will and determination towards doing the things we love, and dream of doing? How does one learn to differentiate good pain and suffering, when you are learning to do what you want to, from bad pain and suffering, when one's character and habits are resisting change, and the artist remains close-minded? How does an artist develop the capacity to become involved, which is accompanied by fear, and the sensation of become obsessed, and sometimes, possessed, by what he or she is creating: and how do we become uninvolved when we are finished working?

NOTE: Under certain circumstances, depending on time and other realities, it may be possible to synthesize these lectures. Each situation must be discussed and evaluated individually.

Contact John Strasberg for further information.