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He even did commercial advertisements.
Fortune telling as stage magic is as well fakery for Welles. Yet, this falsification can magically transform the performer into someone too close to the real.
Now, fakery as the creation of reality has the temporality of becoming. Deleuze writes“the forger cannot be reduced to a simple copier, nor to a liar, because what is false is not simply a copy, but already the model. [...] the artist, even Vermeer, even Picasso, is a forger, since he makes a model with appearances, even if the next artist gives the model back to appearances in order to make a new model [...]”
“it is so difficult to define ‘the’ forger, because we do not take into account his multiplicity, his ubiquity, and because we are content to refer to a historical and ultimately chronological time. But everything is changed in the perspective of time as becoming.”
As she becomes larger, she of course becomes larger than the size she just was. But in that same stroke, she is as well ‘becoming smaller’ than the sizes she is now growing into. If we are assuming she will continue her growth, then in the next moment, she will be larger; but, that coming largerness is still smaller than the even larger size that comes after that. So it is not that Alice is larger and smaller than herself. Rather, Alice is becoming larger and smaller than herself.
"Certainly, she is not bigger and smaller at the same time. She is larger now; she was smaller before. But it is at the same moment that one becomes larger than one was and smaller than one becomes. This is the simultaneity of a becoming […]. becoming does not tolerate the separation or the distinction of before and after, or of past and future."
To illustrate self-consciousness as a disjunctive synthesis with our now and our next, Deleuze turns to the story of Actaeon’s transformation.
Is this something like acting or like making oneself a forgery? Consider this clip of Welles passing himself off as Churchill, who was passing himself off as Welles, who was passing himself off as Othello.
"For Sartre, authenticity is a difficult subject because our ontological condition is one of bad faith. Authenticity is never a stable state of being because we are always in bad faith. Every time we define ourselves as this or that, we forget that we are also that being which has possibilities (freedom). Every time we affirm complete freedom, we forget that, to use Heidegger’s terms, we are also de-limited by our facticity and state-of-mind. Phoenix, paradoxically, affirms himself as an actor because he decides that he wants to act in a fake documentary as himself trying to be a rapper. But while actors seem to have absolute freedom in performance of self, they too are limited by their facticity—their race, gender, class, fame, reputation, attitude, etc. Phoenix cannot transform himself into an ‘authentic’ black hip-hop artist, so he transforms himself into a ‘hipster’ hip hop artist—looking more like an indie singer songwriter than P. Diddy."
"To say that authenticity comes from respect for self, is to assume that self is ontologically prior to performance. I would argue, even without having seen the film (but I will watch it—soon), that Phoenix is trying to create a counter-narrative to the side of him we have seen in his films and public performances—attempting to deconstruct our image of who Phoenix really “is.” But going even further than that—Phoenix seems to be revealing that the transformation of the self comes from a diffusion of the self rather than a commitment to an authentic being—“a rapper” in essence. The transformation of himself into a rapper would involve a change in appearance, attitude, investments, acquaintances, etc. He is not committed to this work, preferring to claim an essential transformation of the self and the soul. This answers the above question about why Phoenix is able to become Johnny Cash—because he transforms not his essential ‘self’ but acts like, talks like, sings like, looks like Johnny Cash"
"Mark Wahlberg has earned his place as a respectable actor—less so as a respectable musician. The hit they had in the 80s is still played, but this is not his primary focus. Wahlberg no longer looks like and acts like Marky Mark—that self has been traded in for his various acting and real-life personas."