a sense to set in place before (Heidegger, 1977, “decisive himself” p.129); ‘himself’ referring to the one that conceptualises and models. This attitude of ‘decisively setting in place can be likened to what Stanislavski describes as a coldness before’, towards the object (Stanislavski, 2010, pp 23-25), which he discusses as resulting in (p.43); something which he saw as lacking inner life and “mechanical play acting” truth. In Chapter One such norms and models, were outlined as stereotypical representations of women through the categories of controlled bodies, flying angels and lost little girl. As Heidegger describes above, norms and models come about due to a process of top down, grasping and organizing: a process through which “a living thing is no longer to be apprehended as (Heidegger, 1977, p.120). … living” This is a point which resonates with processes of stereotyping as described in Chapter One. In a way similar to naiveté, I demonstrated ways in Stanislavski’s which the experiences of women at a loss, in the category of lost little girl, were frequently reduced to a norm of outward significations, which as I outlined were: walking with a lack of conviction, turned in feet and looking around etc. If the behaviour of the character has been decided upon before the performer has had a chance to get to know the possibilities of the experience of the specific circumstances in which character finds herself, then like the portrayals emerging from school of representation, the character becomes a set form which Stanislavski’s cannot live, be and experience but is merely illustrated. A character created in this way becomes an external imitation in which inner life, and the subjective or Being “I” is precluded. Heidegger was explicit about representation being a way in which objectification happens, stating that drives everything together into the “representing unity of that which is thus given the character of (Heidegger, 1977, p.150). In object”
a “decisive sense to set in place before himself” (Heidegger, 1977, p.129); ‘himself’ referring to the one that conceptualises and models. This attitude of ‘decisively setting in place before’, can be likened to what Stanislavski describes as a coldness towards the object (Stanislavski, 2010, pp 23-25), which he discusses as resulting in “mechanical play acting” (p.43); something which he saw as lacking inner life and truth. In Chapter One such norms and models, were outlined as stereotypical representations of women through the categories of controlled bodies, flying angels and lost little girl. As Heidegger describes above, norms and models come about due to a process of top down, grasping and organizing: a process through which “a living thing … is no longer to be apprehended as living” (Heidegger, 1977, p.120). This is a point which resonates with processes of stereotyping as described in Chapter One. In a way similar to Stanislavski’s naiveté, I demonstrated ways in which the experiences of women at a loss, in the category of lost little girl, were frequently reduced to a norm of outward significations, which as I outlined were: walking with a lack of conviction, turned in feet and looking around etc. If the behaviour of the character has been decided upon before the performer has had a chance to get to know the possibilities of the experience of the specific circumstances in which character finds herself, then like the portrayals emerging from Stanislavski’s school of representation, the character becomes a set form which cannot live, be and experience but is merely illustrated. A character created in this way becomes an external imitation in which inner life, and the subjective “I” or Being is precluded. Heidegger was explicit about representation being a way in which objectification happens, stating that “representing drives everything together into the unity of that which is thus given the character of object” (Heidegger, 1977, p.150). In