#but with the limited movements such a large costume would use and restraints of the setting and plot it would become really boring

[themeparkyaoi]

as a fan of both fnaf and hhn, a fnaf house wouldn’t work as well as some of you think. universal only has the rights to the movie adaptation and i’d like you to think about how you’d adapt the movie JUST the movie into a house effectively. it can be done but it’d be (in my opinion) rather lame. there’s very limited locations and cast to include in the house, and also the costumes for the animatronics, if done well, would be really expensive. making multiple of the same characters wouldn’t be a worthwhile investment because they can’t be reused like michael myers masks can for example. there is a sequel coming out for the movie and it’s a MUCH better idea to wait for that to come out and do a house combining the installments of the movie franchise. we’ve gotten previews of the models for toy bonnie and chica so different characters are on the way. yes they are missing fnafs anniversary year, but if they do a fnaf house over and over every year for each new installment then the fnaf property at hhn will become what walking dead or stranger things has become at the event- repetitive and more like an interactive museum exhibit than an actual scare attraction.

[insanityclause]

In the 1960s, British playwright Harold Pinter (1930-2008), who went on to earn a Nobel Prize, was married to actress Vivien Merchant but having a seven-year fling with BBC-TV personality Joan Bakewell. This personal experience was one of several important influences on his 1978 drama about marital infidelity, Betrayal, now receiving its fourth (and, possibly, best) Broadway production since 1980. I recall being unimpressed by that mostly lauded 1980 staging, largely because I considered its three usually outstanding American stars, Roy Scheider as Robert, Blythe Danner as Emma, and Raul Julia as Jerry, to be unconvincing as highly-educated Brits. I missed the 2000 revival, starring Liev Schreiber, Juliette Binoche, and John Slattery, as Robert, Emma, and Jerry. None was English, but, in 2013, when the potentially awesome all-British cast of Daniel Craig, Rachel Weisz, and Rafe Spall played the the same roles, my response (unlike that of most viewers) was only ho-hum. For the current, limited-run, revival at the Bernard B. Jacobs Theatre, which originated earlier this year during London’s Pinter at the Pinter season, the biggest name among the English leads is Tom Hiddleston (Loki in the Avengers movies), who plays Robert. This is not to say his bright costars, Zawe Ashton (Velvet Buzzsaw) as Emma and Charlie Cox (Philip, Duke of Crowborough on “Downton Abbey”) is Jerry, are in any way diminished by his charismatic presence. They play their roles with the diamond-cutting precision of master jewelers.

But that is still not enough to convince me that Betrayal is more substance than style. In fact, the brilliance of the acting here in Jamie Lloyd’s unconventionally minimalist, finely tuned staging only serves to emphasize the play’s technical glitter over its emotional heartbeat. In the interest of brevity, allow me to adapt the capsule summary of the plot from my review of the 2013 production. It tells the story of how, in 1968, Jerry, a literary agent (Pinter’s avatar), a married man and father, falls for and begins his affair with Emma. She is the gallery-owning wife of Robert, a publisher who is Jerry’s closest friend (his best man, in fact). The affair lasts seven years and ends in 1975. For much of the time, the lovers conduct their clandestine romance in a rented flat. Meanwhile, Robert begins his own affair, as does Jerry’s wife, Judith. A coda, set in 1977, two years after the affair ends, brings the former lovers together at a pub, and Emma reveals that she is now involved with another writer, one of Jerry’s clients whose publisher is Robert.

What makes this otherwise straightforward tale of adulterous love, male bonding and deception, and scratched memories (à la Proust) intriguing is its backward chronology, with the 1977 post-affair coda actually being the first scene, and with the play then proceeding to eight scenes set, respectively, in 1975, 1974, 1973, 1971, and 1968 (1977 has two scenes and 1973 has 3).

And what makes this production intriguing is its abandonment of realistic scenery in favor of an essentially bare stage, designed by Soutra Gilmour, using only a couple of chairs, and very few other props. Instead of recognizable locales, we see a low, beige, color-textured wall running straight across the upstage area beneath a black ceiling in which multiple, embedded lighting strips run parallel to the wings. Jon Clark’s exceptional lighting paints the background with a mood-enhancing palette, casting the actors’ razor-sharp silhouettes on the wall, as well as varying the spatial feeling with shuttering effects.

In line with this spare, visual restraint are both Pinter’s remarkably polite, reticent, outburst-free script and the actors themselves, each model-slender, wearing the same clothing throughout, their every movement calibrated for effect. Lloyd creates an almost Becketian world in which each gesture, twist of the leg, or crook of the neck--even the way Robert eats a meal--seems choreographed for imagistic impact, almost as if you could take a picture of any moment and get a Vogue-worthy shot. Ashton’s Emma seems especially prone to standing in ways that seem more poses than positions. Souter’s perfectly-tailored costumes further enhance the physical attractiveness, Robert’s black garb balanced by Jerry’s grayish jacket, with the principal source of color being Emma, the triangle’s pulse, perpetually barefooted in an elegant, high-shouldered, blue, silk blouse and slightly bell-bottomed jeans. Duologues are performed, often with those involved sitting in spindle-backed wooden chairs as the third member of the trio remains upstage, near the wall, present but not present, a constant reminder of his or her significance to the others in the layered strata of betrayal. And while the set may be ultrasimple-looking, it’s actually mechanically complex, using slow-moving concentric turntables that allow the chairs and actors to circle in opposite directions to fascinating effect. The tall, high-cheekboned Hiddleston, a classically-trained actor who has starred as Hamlet and Coriolanus, is in his element, as are his colleagues, in digging into Pinter’s pregnant pauses, elliptical sentences, and subtextual currents. Lloyd’s direction exploits the playwright’s mannerisms for all they’re worth, and the stage is often electric with unspoken thoughts and repressed feelings. But, over the course of 90 minutes, the plot’s revelations gradually lose power because, after all, the backward trajectory has begun by telling us the result of what has already happened and whose origins the play is seeking to uncover. There are few surprises in store in such a pattern, everything that transpires seeming only to put us on a path of diminishing returns. Betrayal is getting a first-class revival here, interestingly directed and designed, and played with just the kind of knowing reserve, cutting psychological insight, and brittle wit great British acting can provide. Every ounce of meaning would seem to have been squeezed from the dramatic tube. Yet,  in this coolly sophisticated, bitingly cerebral environment, the result is more head than heart, or, as I suggested before, more style than substance. All things considered, however, it’s definitely the best of my three Betrayals.

[koryu-kyudokan]

“I ASPIRE TO INSPIRE BEFORE I EXPIRE”..

The above quote is by the exceptional Hanshi Tino Ceberano and I wholeheartedly agree and aspire to do the same..

Since joining all the social media formats I have used them to share both my thoughts on the Martial Arts and the journey of our dojo’s study, Michi or path..

Along the way I have been fortunate to inspire others to follow in our way, both exactly as we are doing and adapting our way to suit there own needs, and that is exactly what I want, you see because my ultimate goal isn’t financial or egotistical gain ( sadly that’s mostly what I see in the martial arts world these days) it is my reward for my constant study and training when I/we inspire others to do the same, I would certainly not start bleeting that I am being copied or that someone is doing the same as me but repackaging it... of coarse if my end goal was financial gain then yes I would have something to say as it would be taking ‘business’ away from me, BUT my goal certainly isn’t that so I wouldn’t !!!!

And to be honest if I didn’t want my way to be taken on board and become part of others studies then I simply wouldn’t put it out there in the first place...

I would keep my way secret along with my Ego..

When Sensei was alive he used to have me plan and implement certain things he wanted to be put in place and always and I mean ALWAYS financial gain was the last thing on his mind, in fact he used to say to me that “people will be very sceptical and suspicious of our way as we give expecting nothing in return”

I didn’t used to understand what he meant but I do now..

The amount of so called martial artist that are only in the arts for what it can give them either financially or egotistical makes me quite sad, everywhere you look you see people charging unreal amounts of money to share in there way or little cliques of so called martial artist getting together to pat each other on the back and either give each other awards or quite senior ranks !!!

I am so honoured to have in my very small circle genuine martial artist whom are simply in the arts to develop both themselves and there students martial knowledge regardless of style or rank..

My question is this “ what comes after them ???? What kind of students will they develop and ultimately turn out, sadly they don’t realise they are killing the arts by bastardising them NOW for there own selfish needs..

I am so glad that I choose my students very wisely ( not one of my students are egotistical or financially motivated) I am so grateful to have people around me who share in my Michi and even more grateful to have my Uchi Deshi Aaron to take forward the Koryu kyudokan way when my time is up...

Two weeks before Sensei past away he set me what would become my final study task with him, I strongly believe he knew his time was close as the task he set me was simply “ study Shibumi and tell me your thoughts” below is my answer I sent to him and I think it speaks for itself...

My whole intention is to try and keep his ways alive through my own dojo, students and by sharing what we do expecting nothing in return...

inspiring others to do the same is the only reward I desire...

and of coarse to improve both my own knowledge and skill set and passing that on to others....

Shibumi

Shibumi is a word that’s often heard in Japan. But because the Japanese language is so rich in subtle nuances that arise from a Zen-like life style, it’s a difficult word to pin down in English.

“Austere,” “subdued,” “restrained” are terms that come nearest. Going back to persimmons, shibui means sharp and penetrating. But it also implies an insightful, calm feeling.

SHIBUMI

The word shibumi is as tricky to define as is the word Zen. In the novel, Shibumi, by Trevanian (Rodney Whitaker), a key character claims that shibumi is an indescribable quality, something beyond words. It is understanding rather than knowledge. It is powerful silence. It is simplicity. It is spiritual tranquility. It is being with no thought of becoming.

Shibumi, like Zen awakening, is not something to be sought after or achieved. It comes naturally, or it doesn’t come at all. It’s a matter of soaring through knowledge and touching down at simplicity.

Shibumi has to do with spontaneity. It implies creative restraint.

Shibumi (simplicity)

Shibumi is a Japanese word meaning refined simplicity, simple elegance and quiet perfection. It is a highly prized quality that few Americans and Europeans understand or appreciate. Shibumi has nothing to do with the flashy, decorative beauty admired in the west but refers to a clean, simple, restrained sense of distinction, refinement and taste. Shimbumi is strict, thrifty and without tournament.

You can see shibumi in every facet of Japanese culture. It is reflected in the simplicity of Japanese art, calligraphy, rock gardens and modest décor of their homes. However, nowhere is shibumi more strongly reflected than in traditional martial arts of karate. You see the simple atmosphere of the dojo. The gi and emblem and the effectiveness of the classical techniques.

It is hard to find shibumi in modern Western karate. Today’s karate-ka wears flashy uniforms use showy gymnastic movements, flurries of techniques but they are not tastefully refined according to tradition. A simple perfectly executed, killing or disabling blow that was perfected over years of repetition has a special beauty in its effectiveness that is shibumi. Today tournament competitors wear colorful costumes with their large emblems and monograms. These modern and younger masters compete with each other for higher ranks even wider, multicolored, striped belts. Meanwhile the traditional sensei outshines them all in a plain, white unadorned gi with one emblem, bound by a simple worn out black belt. This is shibumi.

Warriors (samurai or serious traditional martial artists) pursue shibumi in and out of the dojo. They strive to find that essence of quality, simple and elegant, in everything they do.

Warriors walk quietly into crowded rooms but people are still aware of his presence. These people stand straight and project a confidence and posture from years of disciplined training. Their minds are alert to the people and surroundings due to zanshin training. They do not join in cliques because “they stand alone” but they recognize, respect and gravitate toward one another. Only warriors understand other warriors. (Only karate people understand karate people. Everybody else thinks we are crazy).

Warriors are never the life of the party. They do not like to draw attention by talking about themselves or their accomplishments. A true champion never boasts, they are humble. They are not interested in small talk and speak only when they have something meaningful to say. When they speak their voices are steady but not loud, confident but not arrogant, bold but not disrespectful. They shake your hand with a nice grip (but not painful). They look at you in the eyes, and you feel an energy you cannot describe. These people practice the traditional martial arts, the way and shibumi. These people keep dignity, sincerity, humility, etiquette, perfection and character alive in the society as well as in the arts.

Developing shibumi is a slow process for the westerner. It is taught in the east early in childhood. You cannot fake it; it must come naturally from years of training. It is a combination of intense physical, mental and spiritual training and you must consciously practice shibumi every day. Learn to avoid the kinds of behavior that make you foolish and be a man or women of substance. Do not only look good on the outside; it is the inside that counts (do not only be a model). Face reality and do not deny everything. Know your limitations as well as your potential (realistically). Do not make excuses, do not fake it if you do not know it. Act your age, do not be someone you are not.

Practice good posture to show confidence and leadership. Practice grace in your movements to show an expression of physical and spiritual power – the product of strength, coordination and perfect balance

[dance-legacies]

Classicism (late 1800s)

Classicism is characterised by order, control, rationality, restraint and economy (Black board, 2018). Classical Ballet is the most known style of ballet that comes to mind when talking about ‘ballet’. Classical Ballet involves very precise movements and a high skill of technique such as turned out legs and extensions “which increases the range of movement through added mobility in the hip joint and also imparts a more pleasing line to the extended leg (Britannica, 2017)”. Costumes worn in this era where skin-tight leotard torso usually covered with jewels with a tutu tulle bottom to show the dancers legs as a whole to see all the beautiful lines. Pointe work continued into this era and began move difficult and intricate.

Shown in the video are typical ballet training movements for Classical Ballet such as plie and battement and grande battement. These are movements that Classical trained dancers would use to strengthen their technique for the demanding style of classical ballet. Other movements known in Classical Ballet are jumping or leaping steps, such as entrechat or jete. I chose these movements in the film because they are prime examples of the technical movements from this era of ballet. They show the use of turnout and the strict upper body stance that was required for Classical Ballet. Everything has a position in Classical Ballet, the head, arms, fingers, eye line, toes, legs or have to be place perfectly. This era has no space for interpretation of the dancer’s emotions everyone dances strictly in the exact same way all following the same line.

Music used in this era involved large live orchestras creating powerful music then also create subtle petite music. Due to the dancers, having limiting movements the music was used to create the emotion for the piece and to help the audience understand the feel and emotion of what was being performed. “In Orchestra concerts, ballet music comes in different forms, such as complete ballet scores, which usually uncut and consist of exactly the music that was writing for the dance (Pogue, 2006)”.