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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
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