Manodharma as Methodology: An Improvisational Approach to Screenwriting" by Soudhamini - a Filmmaker, Practice based Researcher & a Fulbright Nehru Research Fellow.
Abstract - The term manodharma in classical Indian aesthetics can be understood as informed improvisation, and refers to that delicate balance between knowing and discovery, or of being prepared (enough) to recognise. Even the most accomplished musician does riyaaz for many hours daily we're told, in order to sing spontaneously in performance. In this paper I will look at manodharma as a methodology for screenwriting.
Informed on either side by the dictates of story and film grammar but itself free, or freeing itself, by engaging lightly with both as references (only) for taking off on a series of riffs, as idea and as writing - this I'm suggesting is the stance or geste a screenplay can assume. For it is pre-eminently a post textual, pre-figural space premised on irresolution - if things were to be fully resolved at this level, there would be no need for the film. What the writer-director does then is to notate an anticipation, allowing for all modes of sentience - human, material, Nature and grace - to come together in a collective improvisation that the filmmaker must be prepared (enough) to recognise. This for me is personal cinema, that it is true to the given moment, and a particular set of conditions within and without. In this sense manodharma is equally a methodology for practice, practice derived theory and field led pedagogy.
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