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An actor who was co-operating several years with the director Pavol Haspra in the Slovak National Theatre drama, and also in the television production, recalls their creative encounters. Palo Haspra was according to Sarvas's experience an original, inimitable director, mainly when it comes to work with an actor. There were some doubts whether he was prepared, or simply started creating straight on the spot, reasoning that he was only choosing what could be gained and found on the stage. This is not true. His directorial book was always carefully prepared. Other thing is, that he really allowed himself to be inspired by the rehearsals, by the actors, and that straight away he could see things much differently on the stage. There were some actors who did not like this method much, murmuring, muttering, or rebelling against, but when working with him, each of them created the unforgettable dramatic creations. Haspra was a daredevil, researcher, able to exalt a dramatic text into a specific staging art, namely such works of art, which had not been performed before - e.g. our classics. He was not afraid to direct the young contemporary authors, he was not the man to settle for the trodden pathways. He risked. And alongside with that, I cannot recall a single staging that would have been bad.
In this answer to comments on our target paper we clarify and specify our model of social actions as construed from the actor (agent) vs. observer (recipient) perspective. Specifically, we propose that in the actor perspective agentic content is accessed automatically while communal content is process in a controlled, effortful way. In the observer perspective, communal content is processed automatically while agentic content in a controlled way. We also attempt to clarify several statements of the original model and present new data providing support for this model.
How does an actor become the creator of his own art, rather than performer of the stage director’s instructions? What are the creative sources he can call upon? And what are the tools of a stage director (pedagogue), willing to guide his (student) actors to an autonomous creative process? For the sake of finding answers to these questions Thomas Ostermeier has developed a specific working process that rests on the Brechtian inductive method, but it also contains a variation of many elements of Stanislavsky’s system and of Meyerhold’s legacy. The stage director’s objective, while employing this method, is, in his own words “not to direct at all, not to dictate, not to order, prescribe, tell or instruct” but quite the contrary “to delegate [his] work to actors, to their art, to their imagination, and to their expertise”. The paper not only aims at describing this method, but also at reflecting its concrete application during a workshop led by Ostermeier, the target group being the students of DAMU in Prague.
We present a model of social perception based on three assumptions: (1) Most actions may be viewed from divergent perspectives of agent vs. recipient, (2) People perceive themselves and others in a way that maximizes their interests and this is done differently in each of the two perspectives, (3) There are two broad dimensions of content in person perception - agency and communion. These assumptions allowed the formulation of 12 hypotheses on how perspective influences: (a) the concern with agentic vs. communal contents in person perception and attitude formation, (b) relations between perceived interests and agentic vs. communal contents, and (c) relations between using agentic vs. communal contents and behavioral pursuit of various interests. Empirical support for these hypotheses is discussed.
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