Yesterday a friend told he liked to watch Boulevard du Palais, a French crime TV series.
Unlike his smart wife, he told me, he never really understands what it’s all about with the complex story, many characters, dead bodies and interlocked investigations – which seemed to be boring to him. He said he loved it because of the detective – the actor, and the way this man was performing.
This idea itself is a perfect seed to think about what is entertainment, an audience, an actor, etc…
As usual, it’s a bunch of questions :
- Are you aware of all the facets which could be loved in your work?
- What if you decided to focus on an unusual one?
- What if the “main thing” (in a crime novel : the story) was a fancy dress to reach the audience with another stick?
- You’re, for example, staging a theater play, or rehearsing a symphony. Could you write the most complete list of elements you work on? Then imagine one person in the auditorium focussing on an unusual one? If you do that, what do you learn? What do you lose? So what?
- If you dislike a piece of Art (music, movie, poetry, etc), did you look for the right door to enter it? Is it worth it? Any clue?
- Do you have to find your own casual way to explore something? The bass only in music, the light only in a movie, the style in a crime novel?
- If you can have pleasure with an element only, why wouldn’t you imagine to “read” impossible things for you, just to find YOUR way, your facet – letting got the “real thing” to gather your own shells?
- In your field, how could you use this idea?
- What if, to find ideas to blog about, you read completely out of your expertise?
- What is the eye of an expert? Can he really understand all the stratums, the levels of a work?
- What is a masterpiece? There are many criterions, but what happens when many levels of reading are amazing?
- If you work on a mainstream piece of work, where do you hide subtleties?
- If you’re a photographer, you probably read a cook book or watch a movie differently, you have “your” facet-seeker ready. So… what do you miss? Is your expertise blinding you?
What do we watch in classics ? In A Tramway Named Desire, are we amazed by Kazan’s work as a director? Brando’s performance? The way they used the set? The words of Tennessee Williams? The way the scriptwriter changed it? The complexity of characters’ evolutions?
All of them, more or less. Right?
Thanks for reading!
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