ADP - Wk5- Play and Force

Theme: Play and Force

Context:

“No problem can be solved from the same level of consciousness that created it.” – Albert Einstein

The meaning of the word “Force” varies depending on the context in which it is used. In physics, force can be explained under a form of a formula, a calculation or a chain of responses due to outer influence. In moral context, it is an action expressing power over others. Whether it is considered bad or good, it lies in the purpose of whoever wields it. And, so on.

Would it be harsh to judge a word by its given meaning? What if there are more to it?

In CPS, I had this notion:

In order to depict something into art, almost everyone will choose “Mimesis” of things. Our understanding of language limits ourselves in the pool of words that categorize and dictate the definition on everything we see. If we choose to apply mimesis on bird for example, we will immediately think of anything that flies, has wings and is up in the air. We won’t even consider of the potentials of one word outside of the thick box of what we know. We neglect the connection between words and pictures but perceive it blindly as illustration of a definition. This matter is a factor that possibly push us in an Artblock or Ideablock. As artists, there is nothing more painful than the infamous gigantic artblock challenging our patience and capability to work our brains.

In the end, the final artwork may not represent directly the visualization of the subject. It’s the idea and experience behind the work that reflect what matter.

That said, language is full of loop holes. It does not have to be a force to reckon with by nature to be the force in question. It does not have to be a violent impact either.

After a while of thinking, a comedic video is what I have produced.

Remember old vines? Well guess what, I choose Thomas Sandler’s vines as my references: Monologue and cringy acting, just up in my area.

Method:

Prior filming, I first pasted my script into a text-to-speech software. I selected a British accent of a middled-aged man to fit with my character, professor Clumps. After a few adjustments in Adobe Audition, I had several complete monologue bits. Second, I quickly designed filming props, notably the grimoire page. Then, I acted out in the mirror trying to find the best acting poses. Later, I shamelessly filmed myself.

I had about 7 different shots. I compiled them in Adobe Premier. When that is done, I imported it into Adobe Audition for dubbing and sound effects.

For opening and credit scene, I finalized them with Adobe After Effect.

Response:

Thus, the story of how Telumbe (my protagonist) messed up her fire ball because she was too stubborn follow instruction was born.

Reflection:

My phone camera is not up to the cinematic standard but it is fine. I am still not content with the sound quality of the explosion but I did my best with what I had. I intended to make more effects in Adobe After Effects with Trapcode but it would just be time consuming and head to oblivion. I could have used better background drape with different colour but purple is the only intact one which I have found. It has some wrinkles but I have tried to stretch it out. It cannot be stretched further than that or it would rip.

In my opinion, the notion of play for this exercise is Performance. Either theatrical or cinematic acting, both share a similar philosophy behind. Ever since the Greek philosophy and theatre have always shared a close and often antagonistic relationship. Very little scholarly attention has been paid to the relationship between philosophy and theatre, drama or acting. Theatrical performances are performances of something else (principally of play texts) and that the artistry of theatre requires some connection between text and performance (Stern, 2013). In Analytic Philosophy and The World of The Play, Bennett stated that fictional entities exist analogously to “possible worlds”. This means that theatrical productions present “the world of the play through the developed idea of ‘re-creation’. It means that theatre is a laboratory for analytic philosophers to examine language, reality, and the imagination. For instance, the word “Force” is a noun, I could change it to a verb and explore what kind of narrative potential would I be able to convey and how would I present it.

Monologue is a strong tool for video which leans more towards acting because it is bias per se and could express powerful and livid emotions. Perhaps this is the reason why monologue on stage, under a spotlight is so iconic. Though I did not speak in my video, I only act following the other character’s lines.

References/Bibliography:

Krasner, D., 2018, “Analytic Philosophy and the World of the Play by Michael Y. Bennett (review)”, Theatre Journal, Johns Hopkins University Press, March 2018, Volume 70, Number 1, p. 126-127

Bennett, M. Y., 2017, “Analytic Philosophy and the World of the Play”, Routledge, June 9, 2017

Stern, T., 2013, “The Philosophy of Theatre, Drama and Acting”, Rowman & Littlefield Publishers, 2017, p. 162