I don't like doing Meisner with Katelin. She makes me nervous. I know I'm low status and sweaty and nasty. Bleckbarf. Fuck off. Happy and sad I'm not acting. I love it, but I don't have like...an actor's...mind. Obviously.
ANYWAY
A fucking billion other things to do along with moving, but I'm happy and dying at the same time. It's my masochistic ways.
I am mad. I hate my mother. Fuck you for not knowing the shit I'm doing right now. Fuck you.
About the criticism book. Pages 5-10. I'm improving, day by day....
This guy's fucking ideas are all over the place, talking about criticizing poetry, Shakespeare, litertaure, all going and back forth between the three of them. Can't wait until I get into an actual essay about ONE thing.
Things I found intriguing:
-When artists criticize their own work, and how it's ridiculous to have some random critic judge the final product of what you've put your soul into. Even though they have to right training and crudentials and knowledge to do so.
-How Shakespeare would be totally not understanding our criticism of his work today, making the only...'relevant' or 'definitive' critique of any of his works would be from his time.
-The guy keeps bringing up a billion differnent points as to why criticism deserves and has its autonomy in the field. I swear, he needs to get his ideas togehter. It's probably just some central theme I'm missing.
-Before starting to actually critique things, read up on all the important shit, formulate your own stances on them to not look like a complete douche, which is what I will start to do over the summer.
-How much my vocabulary blows, and how badly I need an SAT vocab book. I mean it's not terrible, but there are words are I shoudl know already in this book. All the big words and the blibbityblabble is confusing to a dumbass like yours truly.
-The theory that criticism can be a science (as well as an art) but not like boring 'unimaginative and barbaric' science, but 'systematic' or 'progressive' in its steps.
-Also, on criticizing Shakespeare: 'interpreting in terms of a conceptual framework which belongs to the critic alone.
That's mostly it.
100 today for actively participating (for the last time) in Meisner. Me and acting are over. This was just the nails being jackhammered into the coffin. Goodnight.
Peace
Peace
2 comments:
This sounds like it will be really good for you. Even if it's confusing as shit, you seem to be getting a lot out of this book. I'm confidant that once you surmount the initial feelings of helplessness and depression, you will have a marvelous time in this.
eeeeeeeee:-)
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