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author | Monty Taylor <mordred@inaugust.com> | 2015-08-01 13:49:51 +1000 |
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committer | Monty Taylor <mordred@inaugust.com> | 2015-08-01 14:06:15 +1000 |
commit | e80572bca8d345056862235a41597d8b2540e68b (patch) | |
tree | 3b62bc798c9ad99c8733b46c78a6810a91d925d8 /src/talks/a-vision-for-the-future.hbs | |
parent | 506f9db1c9d54a1af4d75ee0ee36e79ccaeacef6 (diff) |
Template the talks!
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1 | <!doctype html> | ||
2 | <html lang="en"> | ||
3 | |||
4 | <head> | ||
5 | <meta charset="utf-8"> | ||
6 | |||
7 | <title>OpenStack: a vision for the future</title> | ||
8 | |||
9 | </head> | ||
10 | <body> | ||
11 | |||
12 | |||
13 | <section> | ||
14 | <h1>Stanislavski</h1> | ||
15 | </section> | ||
16 | |||
17 | |||
18 | <section> | ||
19 | <img src="/images/openstack-cloud-software-vertical-large.png" /> | ||
20 | </section> | ||
21 | |||
22 | <section id="who-am-i-openstack" class="slide level2"> | ||
23 | <h1>Who am I?</h1> | ||
24 | <img style="float:right; margin-right:24pt" src="/images/openstack-cloud-software-vertical-large.png" /> | ||
25 | <p>Technical Committee</p> | ||
26 | <p>Foundation Board of Directors</p> | ||
27 | <p>Developer Infrastructure Core Team</p> | ||
28 | </section> | ||
29 | |||
30 | |||
31 | <section id="who-am-i-openstack" class="slide level2"> | ||
32 | <h1>Who am I?</h1> | ||
33 | <img style="float:right; margin-right:24pt" src="/images/image39.jpg" /> | ||
34 | <p>Undergrad Degree in Theatre Directing</p> | ||
35 | <p>Grad School at CalArts for Lighting Design</p> | ||
36 | <p>Member of the Satori Group</p> | ||
37 | </section> | ||
38 | |||
39 | |||
40 | <section> | ||
41 | <h1>Konstantin Sergeyevich Stanislavsky</h1> | ||
42 | |||
43 | <h3>Константи́н Серге́евич Станисла́вский</h3> | ||
44 | <p class="fragment">Founder of the Moscow Art Theatre</p> | ||
45 | |||
46 | <p class="fragment">"The task of our generation is to liberate art from outmoded tradition, from tired cliché and to give greater freedom to imagination and creative ability."</p> | ||
47 | |||
48 | <p class="fragment">Psychological Realism</p> | ||
49 | </section> | ||
50 | |||
51 | |||
52 | <section> | ||
53 | <h1>Anton Chekhov</h1> | ||
54 | <p>The Seagull (1898)</p> | ||
55 | <p>Uncle Vanya (1899)</p> | ||
56 | <p>The Three Sisters (1901)</p> | ||
57 | <p>The Cherry Orchard (1904)</p> | ||
58 | </section> | ||
59 | |||
60 | |||
61 | <section> | ||
62 | <h1>Moscow Art Theatre</h1> | ||
63 | |||
64 | <p>Founded in 1897</p> | ||
65 | |||
66 | <p>popular seat prices</p> | ||
67 | |||
68 | <p>ensemble ethos</p> | ||
69 | |||
70 | <p>realistic theatre</p> | ||
71 | |||
72 | |||
73 | </section> | ||
74 | |||
75 | |||
76 | <section> | ||
77 | <h1>Verisimilitude</h1> | ||
78 | |||
79 | <p>the appearance of being true or real</p> | ||
80 | |||
81 | |||
82 | </section> | ||
83 | |||
84 | |||
85 | <section> | ||
86 | <h1>Psychology, Physiology and Neurology</h1> | ||
87 | |||
88 | <p class="fragment">First meeting of International Congress of Psychology - Paris, 1889</p> | ||
89 | |||
90 | <p class="fragment">Pavlov - Institute of Experimenal Medicine, St. Petersburg, 1891</p> | ||
91 | |||
92 | <p class="fragment">(the dogs were in 1901)</p> | ||
93 | |||
94 | <p class="fragment">Freud - Interpretation of Dreams 1899</p> | ||
95 | |||
96 | |||
97 | </section> | ||
98 | |||
99 | |||
100 | <section> | ||
101 | <h1>Stanislavski's system</h1> | ||
102 | |||
103 | <p>psychophisology</p> | ||
104 | |||
105 | <p>interrelation between mind and body</p> | ||
106 | |||
107 | <p>Physical Actions and Internal Life are linked</p> | ||
108 | |||
109 | <p>Most modern theatre, tv and film actors</p> | ||
110 | |||
111 | |||
112 | </section> | ||
113 | |||
114 | |||
115 | <section> | ||
116 | <h1>Key ideas</h1> | ||
117 | |||
118 | <p class="fragment">"What if" (what if I were in the same situtaion as my character)</p> | ||
119 | |||
120 | <p class="fragment">Motivation (why)</p> | ||
121 | |||
122 | <p class="fragment">Objectives (what do I want)</p> | ||
123 | |||
124 | </section> | ||
125 | |||
126 | <section data-transition="zoom"> | ||
127 | <h1>Chekhov and Psychological action</h1> | ||
128 | </section> | ||
129 | |||
130 | |||
131 | <section data-transition="zoom"> | ||
132 | <h1>Emotional Memory</h1> | ||
133 | </section> | ||
134 | |||
135 | |||
136 | <section data-transition="zoom"> | ||
137 | <h1>Sense Memory</h1> | ||
138 | </section> | ||
139 | |||
140 | |||
141 | <section> | ||
142 | <h1>Inside out</h1> | ||
143 | |||
144 | <p>like using a programming framework</p> | ||
145 | |||
146 | <p>Express the key points - let the framework handle the details</p> | ||
147 | |||
148 | <p>Manipulate the emotional life - the body will handle a lot of the details</p> | ||
149 | |||
150 | |||
151 | </section> | ||
152 | |||
153 | |||
154 | <section> | ||
155 | <h1><em>An Actor Prepares</em></h1> | ||
156 | |||
157 | <p>For further reading</p> | ||
158 | |||
159 | |||
160 | </section> | ||
161 | |||
162 | |||
163 | <section> | ||
164 | <h1>Lee Strasberg</h1> | ||
165 | |||
166 | <p class="fragment">Moscow Art Theatre visited the US in 1923</p> | ||
167 | |||
168 | <p class="fragment">Strasberg == Mind Blown</p> | ||
169 | |||
170 | <p class="fragment">Dropped out of school and went to study with the Russians</p> | ||
171 | |||
172 | |||
173 | </section> | ||
174 | |||
175 | |||
176 | <section> | ||
177 | <h1>The Group Theatre</h1> | ||
178 | |||
179 | <p>New York - 1931</p> | ||
180 | |||
181 | <p>Founded by Lee Strassberg, Harold Clurman and Cheryl Crawford</p> | ||
182 | |||
183 | <p>Not the same as the Group Theatre in London</p> | ||
184 | |||
185 | <p>Believed in Leaderless Operation and Collaborative Work</p> | ||
186 | |||
187 | |||
188 | </section> | ||
189 | |||
190 | |||
191 | <section> | ||
192 | <h1>Sound familiar?</h1> | ||
193 | </section> | ||
194 | |||
195 | |||
196 | <section> | ||
197 | <h1>The Method</h1> | ||
198 | |||
199 | <p class="fragment">Strasberg took Stanislavski's system and made a training system</p> | ||
200 | |||
201 | <p class="fragment">You've probably heard of it</p> | ||
202 | |||
203 | <p class="fragment">Marlon Brando, Heath Ledger, Philip Seymor Hoffman, Robert DeNiro, Daniel Day-Lewis, Christian Bale, Al Pacino</p> | ||
204 | |||
205 | |||
206 | </section> | ||
207 | |||
208 | |||
209 | <section> | ||
210 | <h1>Big differences from Stanislavski</h1> | ||
211 | |||
212 | <p class="fragment">Emotional Memory becomes Affective Memory</p> | ||
213 | |||
214 | <p class="fragment">Substitution - What would make me, the actor, behave in the way the character does</p> | ||
215 | |||
216 | |||
217 | </section> | ||
218 | |||
219 | |||
220 | <section> | ||
221 | <h1>So I was at this bar ...</h1> | ||
222 | </section> | ||
223 | |||
224 | |||
225 | <section> | ||
226 | <h1>Clear danger, right?</h1> | ||
227 | |||
228 | <p>Notice that Heath Ledger and Philip Seymour Hoffman were in the list</p> | ||
229 | |||
230 | <p>Everyone other than Strasberg walked away from pure-emotional immersion</p> | ||
231 | |||
232 | |||
233 | </section> | ||
234 | |||
235 | |||
236 | <section> | ||
237 | <h1>Stanford Meisner</h1> | ||
238 | |||
239 | <p>Split from Strasberg - thought emotional memory caused actors to focus on themselves and not the character</p> | ||
240 | |||
241 | <p>Concentration on the parter instead</p> | ||
242 | |||
243 | <p>live truthfully under imaginary circumstances</p> | ||
244 | |||
245 | </section> | ||
246 | |||
247 | |||
248 | <section> | ||
249 | <h1>Stella Adler</h1> | ||
250 | |||
251 | <p>Broke with Strasberg after studying with Stanislavski</p> | ||
252 | |||
253 | <p>Emotion should come from imagination based on given circumstance</p> | ||
254 | |||
255 | |||
256 | </section> | ||
257 | |||
258 | |||
259 | <section> | ||
260 | <h1>Uta Hagen</h1> | ||
261 | |||
262 | <p>Another split</p> | ||
263 | |||
264 | <p>Basic Object Exercises</p> | ||
265 | |||
266 | <p>Start by doing mundane things in front of people</p> | ||
267 | |||
268 | |||
269 | </section> | ||
270 | |||
271 | |||
272 | <section> | ||
273 | <h1>What the heck does this have to do with OpenStack?</h1> | ||
274 | </section> | ||
275 | |||
276 | |||
277 | <section> | ||
278 | <h1>All of these people shared a purpose</h1> | ||
279 | |||
280 | <p class="fragment">To create truth in realistic acting</p> | ||
281 | |||
282 | |||
283 | </section> | ||
284 | |||
285 | |||
286 | <section> | ||
287 | <h1>All of these people both shared approaches and diverged substantially</h1> | ||
288 | |||
289 | <p class="fragment">"What would I do if I were in this circumstance"</p> | ||
290 | |||
291 | <p class="fragment">"What would motivate me, the actor, to behave in the way the character does?"</p> | ||
292 | |||
293 | |||
294 | </section> | ||
295 | |||
296 | |||
297 | <section> | ||
298 | <h1>Tadashi Suzuki</h1> | ||
299 | </section> | ||
300 | |||
301 | |||
302 | <section> | ||
303 | <h1>The Feet</h1> | ||
304 | |||
305 | <p class="fragment">connection to the ground</p> | ||
306 | <p class="fragment">outside in</p> | ||
307 | <p class="fragment">Truth from Physicality, not from Psychological realism</p> | ||
308 | </section> | ||
309 | |||
310 | |||
311 | <section> | ||
312 | <h1>The Trojan Women</h1> | ||
313 | |||
314 | <p>Drew from Noh, Kabuki and Shingeki tranditions</p> | ||
315 | |||
316 | <p>Produce a thing that is "true" to a modern Japanese sensibility</p> | ||
317 | |||
318 | <p>Training arose from the need to train replacement actors for the show</p> | ||
319 | |||
320 | |||
321 | </section> | ||
322 | |||
323 | |||
324 | <section> | ||
325 | <h1>SITI Company</h1> | ||
326 | |||
327 | <p>Suzuki collaborated with Anne Bogart</p> | ||
328 | |||
329 | <p>Added Anne Bogart's Viewpoints to Suzuki's techniques</p> | ||
330 | |||
331 | |||
332 | </section> | ||
333 | |||
334 | |||
335 | <section> | ||
336 | <h1>P3</h1> | ||
337 | |||
338 | <p>Robyn Hunt and Steve Pearson studied for 12 year in Japan with Suzuki</p> | ||
339 | |||
340 | <p>Moved back to US to teach the techniques</p> | ||
341 | |||
342 | <p>Added Shogo Ohta's slow-tempo techniques</p> | ||
343 | |||
344 | |||
345 | </section> | ||
346 | |||
347 | |||
348 | <section> | ||
349 | <h1>Frank</h1> | ||
350 | |||
351 | <p>Here in Brisbane</p> | ||
352 | |||
353 | <p>Studied with Suzuki - Added Australian content and form</p> | ||
354 | |||
355 | <p>Exercies to Nick Cave instead of Japanese Flute</p> | ||
356 | |||
357 | </section> | ||
358 | |||
359 | |||
360 | <section> | ||
361 | <h1>The training is a tool</h1> | ||
362 | |||
363 | <p>An actor might study all of them</p> | ||
364 | <p>Each technique can be useful for different things</p> | ||
365 | |||
366 | |||
367 | </section> | ||
368 | |||
369 | <section> | ||
370 | <h1>Shakespeare</h1> | ||
371 | <p>Each of these directors has applied their techniques to Shakespeare</p> | ||
372 | </section> | ||
373 | |||
374 | <section> | ||
375 | <h1>They're all useful tools for different hings</h1> | ||
376 | </section> | ||
377 | |||
378 | |||
379 | <section> | ||
380 | <h1>Why all this talk about acting techniques?</h1> | ||
381 | </section> | ||
382 | |||
383 | |||
384 | <section> | ||
385 | <h1>Four takeaways from the actors</h1> | ||
386 | <p class="fragment">Know what problem they're trying to solve</p> | ||
387 | <p class="fragment">Develop techniques to solve the problem</p> | ||
388 | <p class="fragment">Don't confuse technique with results</p> | ||
389 | <p class="fragment">Be willing to adapt based on new data</p> | ||
390 | </section> | ||
391 | |||
392 | |||
393 | <section> | ||
394 | <h1>The problem</h1> | ||
395 | <p class="fragment">Are we chasing psycological realism?</p> | ||
396 | <p class="fragment">Are we chasing physical truth?</p> | ||
397 | </section> | ||
398 | |||
399 | |||
400 | <section> | ||
401 | <h1>The problem for us</h1> | ||
402 | <p class="fragment">Are we making a toolkit for people to use to build clouds?</p> | ||
403 | <p class="fragment">Are we making a cloud that can be deployed in multiple places?</p> | ||
404 | <p class="fragment">Are we providing computers?</p> | ||
405 | </section> | ||
406 | |||
407 | <section> | ||
408 | <h1>What I want</h1> | ||
409 | </section> | ||
410 | |||
411 | <section data-transition='zoom'> | ||
412 | <h1>OpenStack should provide computers and networks that work</h1> | ||
413 | </section> | ||
414 | |||
415 | <section data-transition='zoom'> | ||
416 | <h1>OpenStack should not chase 12-factor apps</h1> | ||
417 | </section> | ||
418 | |||
419 | <section data-transition='zoom'> | ||
420 | <h1>OpenStack should provide a happy home for app frameworks</h1> | ||
421 | </section> | ||
422 | |||
423 | <section data-transition='zoom'> | ||
424 | <h1>OpenStack should, by default, give me a directly routable IP</h1> | ||
425 | </section> | ||
426 | |||
427 | |||
428 | </body> | ||
429 | </html> | ||
430 | |||