Ian's Notes.

Hey, Gang.
Here are my notes on the final definition submissions to date. Most of my feedback is grammatically based; occasionally, I have taken issue with the semantics of the definition itself. In the end, I want to express my gratitude for the effort that has gone into this process. It is so great to feel the weight of my colleagues on these pages. I mean in no way to invalidate these efforts, although, at times, my tone may be direct and may sound forceful. It is only because I feel so strongly about the finality of our work here.

Much LOVE,

Ian


Strongpoint
The moment in every acting beat where the character's most effort meets the greatest resistance, whether emotional, physical, or intellectual.

“I would change “most,” to greatest.

Brechtian Moment
A moment of physical and psychological suspension that allows for the acknowledgement that more than one outcome is possible.

“Should we illucidate why it is called the ‘Brechtian’ moment?”

Inside World/Outside World
The inside world encompasses a character’s internal, psychological and emotional states.
The outside world expresses the external, social environment in which the character lives.

“I would add ‘political’ to the ‘external, social,’ list of outside world- as we often say this in the studio and it has a certain ring to it.”

Packet
A grouping or series of actions that contain a clear beginning middle and end.

“I would remove the word, ‘grouping.’

Beat
An expression of an emotion or need(s) that can be traced back to a singular initial impulse.

“I think if you are tracing a need or emotion back to an initial source…then you are talking about a series of beats, a packet. I think a beat is a, ‘singular impulse that expresses an emotion or need.”

Classic Lines of Force
What an audience perceives as pure geometry, i.e. perfect vertical and perfect horizontal.

“I would add, ‘…..perfect vertical, perfect horizontal and perfect oblique (diagonal), lines in space or in the actor’s body.”

Work and Relax
Work to Relax is the preparation that gives focus to an effort and that makes that effort the most efficient.

“I would amend this.
‘work to relax,’ is not work AND relax. I am confused by this statement; these two concepts are related but the definition seems to lump them together into some sort of other tool.

Causality
A device that gives specificity to the physical manifestation of a voluntary/involuntary relationship.

*Common types of causalities within the Margolis Method are: string, elastic, parachute, divide, shock/resonance.

I would suggest:
“A physical device with metaphorical meaning that gives specificity to the the action of a voluntary/involuntary relationship.”

Neutrality
Neutrality is a state of conditions where all forces working on the character are equal.

“Not so. The only force working on the character in ‘vertical’ neutral is gravity. The actor, even in neutral, must have some state of resistance within them…otherwise, we collapse under gravity’s effort. I would say that the force working against the actor and the actors own effort are equal….. hence, neutral.”


Resistance
Resistance is the expression of opposing forces working on a physically-manifested intention.

“I don’t understand what ‘working on a physically-manifested intention,’ means.”

Funk and Wagnals:
the degree to which a substance or device opposes the passage of an electric current, causing energy dissipation.

Resistance for the actor…is simply, the force in opposition to an effort. Energy in Two Directions. Resistance is one part of theatrical conflict. Effort is the other half. Drama, drama, drama.

Supportive Resistance
Supportive Resistance is the offering of resistance to empower and confirm an intention.

“Supportive Resistance is an offering of resistance, from one idea, that empowers and confirms another idea through this conflict of wills.” Ehhhh….we need something else altogether…….. I think.


Demeanor
Demeanor is the most minimal and purest manifestation of an emotional state.

“What does ‘minimal’ mean in this context?”
“I would agree that it is a pure manifestation of an emotional state….but where? In the mass, the mask, the hand? How does the actor embody demeanor?”

Precipice
The precipice is a state of being where the character is on the verge of control, i.e. falling, breaking, or exploding.

“I’m confused here. I’ve always felt that the precipice is about being on the fine line between control and uncontrol. Saying to a first time student…that you are, “on the verge of control,” when you are on the precipice…is like saying, “you are almost at weight center, keep going and you’ll be in control…”
Also, the precipice must be defined like we have defined many other terms….it is not just a state of being…there is also a physical condition here to. No?

I have stuff to say to both Ian's and Gregory's notes but will do it later.
Also, Gregory, we should probably keep that thread nice and pristine and add our commentary on a separate topic like Ian did.
Brizzle, can you move his hear or start it as a new topic? Call me OCD but it's good to keep things streamlined on forums like this (believe me, yeeeears of being a nerd has taught me!)