The ideas fundamental to Fedsak idea development workshops, acting classes and film projects, are the result of research at the Master of Film between 2012 to 2016. During these years, filmmaking was reexamined from scratch, using the question as a tool to look with fresh eyes. During this investigation, ignorance, stupidity, naivety and idiocy was deliberately cultivated. These ‘vices’ were seen as vehicles to travel to new and previously unknown places, while only exhaustion or boredom were the (natural) limits.
THE IDEAS BEHIND THE METHOD
Inspired by French phenomenological philosopher Maurice Merleau-Ponty (1908 – 1961) we can depart from the idea that consciousness, the world, and the human body are intricately intertwined and mutually engaged. Our views of the elements in the world around us are always partial as we can see things only from a certain perspective at a certain moment in time. Our reality is established over and over again, thus we ask questions in perpetually moving environment. With the help of this uncertainty and 'flux' the creator can make being 'lost' and feeling ‘ignorant’ comfortable by seeing it as a virtue. Perception through the receiving body should be placed in a central position.
If we believe our body interacts with the sensory qualities it encounters, and elaborates things within an ever-present earlier understanding of the world's makeup, this means we can investigate our own natural responses for artistic purposes. Without searching for elements to tell a preconceived story, our spontaneous appearance of 'hunches' would be meaningful in itself. For screenwriters and idea developers this implies there is plenty of inspiration available and the fears for a 'writer’s block' are unsubstantiated. All we have to do is to take action (of any kind) and become attuned to self-promptings, capture these and work them into a film idea. The reoccurring question during idea development stages should be: "What does the world bring me today?"
Since our bodily involvement with our surroundings is provisional and indeterminate, we can randomly encounter meaningful things in a unified though ever open-ended world of experiences. This opens up endless possibilities of harvesting creative ideas. We should not look for fantastic ideas, but train ourselves to be alert to what is of interest on an elementary level. Only then are we able to capture 'sparks' efficiently, opening doors to many kinds of creativity.
We can develop film ideas and work with actors by focusing on body, perception and physical action - but we can also learn from actors. Actors and those who work with them have had access to relevant knowledge concerning working creatively for centuries, simply because actors are forced to deal with issues of creativity through the body. Fedsak teachings depart from the idea that acting techniques touch the creative process of all arts. Meanwhile they are hardly studied by other disciplines.
The Fedsak workshops "Body Before Emotion" and "Beyond The Synopsis" are based on the principles found during research, from seeing ignorance as virtue to the use physical action in the creative process. And most importantly: opening all senses to inspiration.
Read more at: master research