By the way it would also be worthwhile to look at Babette Mangolte's
documentary where she tracks down and interviews the main performers of
Pickpocket. I think it is a special feature on the Criterion edition of
the film. Coincidentally, Babette photographically documented the early
Foreman plays mentioned below.
j
John Matturri wrote:
> I think Bresson's use of the word "model" may be a bit misleading. Good
> models tend to be skilled at presenting an image for the camera, which
> seems closer to acting, though it does not always carry over to
> sustained development of characters, than what Bresson had in mind.
> 'Non-actors' might be a better term. Maybe look up some of the writings
> by / about early Richard Foreman and Robert Wilson about the use of
> non-actors in their theater. Foreman at least was explicitly influenced
> by Bresson. Avant-garde film, especially from the 50s and 60s, provides
> a rich source of use of the specific qualities of non-actors, for
> example in the early films of the Kuchar's, Ken Jacobs, Jack Smith, etc.
> (Anais Nin herself appearing with a birdcage on her head in Kenneth
> Anger's Inaugeration under the Pleasure Dome.) One accessible piece of
> writing that may be relevant is Jack Smith on Maria Montez in "The
> Perfect Filmic Appositeness of Maria Montez" that originally appeared in
> Film Culture in the early 60s and is reprinted in J.Hoberman's anthology
> Wait for Me at the Bottom of the Pool.
>
> j
>
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