balthazar

no actors. (no directing of actors.) no parts. (no learning of parts.) no staging. but the use of working models, taken from life. being (models) instead of seeming (actors)

nature: what the dramatic art suppresses in favor of a naturalness that is learned and maintained by exercisesThe false when it is homogeous can yield truth

unbalance so as to re-balance

hide the ideas, but so that people find them. the most important will be the most hidden

actors. the nearer they appear (on the screen) with their expressiveness, the further away they get. houses, trees come nearer; the actors go away

fragmentation 'this is indispensible if one does not want to fall into representation. see beings and things in their separate parts. render them independent in order to give them a new dependence

things too much in disorder, or too much in order, become equal, one no longer distinguishes them. They produce indifference and boredom

don't show all sides of things. a margin of indefiniteness

the actor is double. the alternate presence of him and of the other is what the public has been schooled to cherish

what our eyes and ears require is not the realistic persona but the real person

algorithm

a--. observe phenomenon

a-. set criteria, set objective

a. assign meaning

b. assign value to occurrence frequency

c. reevaluate a-

d. reevaluate a--

e. repeat a. adjust if necessary

f. go to a--