Constantin Stanislavski

An actor’s handbook
Terminology redefining performing acts
Focus on craft, depth, revision, initiative, progress
Problem solving through creative evaluation
A ACCENTUATION
Accent singles out the high point of the
subtext. We have many planes of
speech to create perspective in a
phrase. Accent can be combined with
ACTION
Action and motion is the basis of art. Even external immobility does
not imply passiveness. You may sit without motion and be in full
action – inner intensity. Actions have inner justifications – logical,
coherent, real.
1. Physical actions – great moments filled with inner meaning
intonation to convey shades of feeling:
caressing, malicious, ironical, a touch of signalized by some ordinary, small, natural movement. No physical
scorn, respect, etc. Another method of actions are divorced from some desire in inner creative state.
emphasis is to change the tempo and 2. Actions create the physical life of a role – two natures: physical and
rhythm – Building a Character spiritual. Evoke conditions, circumstances, feelings – unbreakable
bond between action on stage and what precipitated it.
3. Pattern of physical actions – the line of the physical being in a role –
simple, physical, realistic actions can engender role – Creating a Role
ACTOR AS…
Master of his art – power and technique
to convey feelings, passions to transmit
hopes and tribulations of man. Actor ADAPTATION AMATEUR ATTITUDE
grows as long as he works. Process of adjustment and its The worst enemy of progress is
True artist – experience culture, study quality: vividness, colourfulness, prejudice. Art requires
thoroughly, explore variety of life, be an boldness, delicacy, shadings, virtuosity, practice, technique,
idealised human being reaching their exquisiteness, taste. Two types: talent. Amateurs reject
epoch reflecting spiritual cravings of selection and execution of technique out of laziness rather
contemporaries. adjustment. Sub-conscious strikes than convictions.
In role – line of physical actions and in moments of inspiration.
unbroken line of emotions verging on
sub-conscious.
In films – technical expertise and ANALYSIS
understanding of proximal conventions Purpose: to search out creative stimuli and emotional soul of the part –
required. Rehearse death and birth. sensations, experiences, links, spirituality. Not solely intellectual – it is the
In the theatre – master of their own ability to feel a story. As you are drawn to physical actions, you are drawn
inspiration, call it up at hour announced. away from life of subconscious. Action of nature and its subconscious is
Their own feelings – vicarious transition. subtle and profound. Naturally induced self-analysis not a forced cerebral
Externalise the internal. activity. Analysis is perception – dissect, divide into layers, creating
questions and answers, discuss, argue, debate, conclude.
APHORISM OF PUSHKIN APPRAISING THE FACTS OF ART OF THE ACTOR AND
Poet wrote about ‘sincerity of emotions,
feelings that seem true in given
THE PLAY DIRECTOR
Inner life is concealed in characters’ Immerse yourself in play – find the
circumstances – that is what we ask of a
outer circumstances and facts of play. motive of the narrative, through line of
dramatist’. Same for actor – produce
Uncovers aims, personal lives, mutual action, interpretation, presentation in
circumstances that true feelings are
attitudes, organism of character and physical form, traits of characters and
spontaneously engendered. Indirect
inner life of play itself. Appraise facts is cast and crew, interactive dynamic.
production of emotions, under
to find key to riddle of inner life hidden Director aims to illuminate drama and
prompting of true inner feelings –
under the text of the play – Creating a remain subservient to actor’s role
Building a Character
Role within the piece – Stanislavski’s Legacy

ARTISTIC TRUTH – NATURAL ATTENTION

1. Concentration – creativeness is concentration of the actor. Attention on
BEAUTY stage and stage alone = point of attention – not auditorium. Actor trains
Truth on stage is not a small external truth which self to have circle of attention – PUBLIC SOLITUDE.
leads to naturalism – it is what you sincerely believe 2. Concentrated sensory attention – grasping an object to become a
in. Untruth to the actor must become truth in the creative apparatus. Imagined circumstances heighten emotional
soul of the character, enough to suspend the connection to it. Objects are given new meaning in context of narrative.
disbelief of the spectator. The secret of art is that is 3. Imaginary objects of attention – five senses in imagination – abstract
converts a fiction into a beautiful artistic truth. If process. Imagined objects require disciplined power of attention.
the narrative’s reality is doubted by the actor or 4. Physical attention – muscle response as signs to attentiveness.
spectator, truth vanishes along with emotion and 5. Concentrated attention and creative material – emotion of attention.
art. They are replaced by pretence, falseness, When the inner world of someone becomes clear to you through his acts,
imitation, routine acting. Nature and truth are thoughts, impulses – follow actions closely and study conditions in which
indivisible. Natural beauty is the true friend of our he finds himself. How to stimulate the sub-conscious self.
being. Beauty cannot be fabricated, it is… it exists in
nature all around and in each one of us. There is no
greater beauty in the world than nature itself. One AUDIENCE
must know how to look at and see beauty. One must As soon as the actor stops being concerned with his audience, the more it
learn how to carry beauty over from life and nature allows the audience to suspend their disbelief and immerse themselves
on to the stage… without crushing or mangling it. – within the character. – the point is not in the power of the effect but in its
Collected Works, Vol. VI quality. - An Actor Prepares
B BALLET
A beautiful art not for dramatic artists.
An actor needs other plasticity, other
grace, another rhythm, another set of
gestures, another manner of walking,
BODY TRAINING
An actor must learn how to develop their physical apparatus – flabby
muscles, poor posture, sagging chests – they show insufficient training
and an inept use of the physical instrument. Physical shortcomings
can attract immediate attention on stage. An actor is scrutinized by
thousands of onlookers on stage through a magnifying lens. Only with
another method of movement. We
must borrow only the amazing capacity a character with those physical insignias, can this choice be
for work and the knowledge of how to purposeful. A healthy body is more capable of extraordinary control.
train the body from the artists of the Physicality is not the priority. Artistic pursuits are – sculpting the body
ballet. – My Life in Art. should not be tortuous. Exercises contribute towards flexibility,
mobility, expression and physical sensitivity. Physicality must submit
to the inner life in acting. Expressive body training – gymnastics,
dance, acrobatics, fencing, wrestling, boxing, etc. Appropriately
prepare your body for the role. – An Actor Prepares
CARPING CRITICISM
A nagging critic can drive an actor mad

C
and reduce him to a state of
helplessness. Search for falseness only so CHARACTERISATION AND TRANSFORMATION
far as it helps you find the truth. A critic He must find his distinctive, individual voice in every role that is authentic
can sabotage an actor’s process and turn to the character s/he plays. Outer characterisation follows inner
a truth into a falsehood. A calm, wise and preparation – using one’s own experiences, intuition, self-observation,
understand critic is the artist’s best study from books and paintings (in short, from every possible source) an
friend. He will not nag you over trifles, actor can prepare for this transformation without losing their own
but will have his eye on the substance of identity. Avoid monotony by being versatile and adaptable in
your work. – An Actor Prepares transformation. Searching for and choosing emotions to part = good.
Altering the part to suit one’s more facile resources = amateur. An actor
must give themselves wholly to their part to transform. Transposition is a
sort of reincarnation that an actor can achieve. – Building a Character

CHARM
Certain actors have natural charisma – intangible, indefinable but evident. Stage charm is different to natural charm. The
unlucky actor who lacks theatre attractiveness influences the public against them. These actors are intellectual, gifted and
conscientious about art – stage charm can be crafted. – Building a Character
CLARITY CLICHÉ ACTING
Actions must be clear like the notes on an Picturesque efforts that pretend to portray all sorts of feelings through external means:
instrument. Otherwise the pattern of reciting the role, declamatory vocal embellishments, expressing passions by showing
movement in a role is messy. Delicate teeth, jealousy by tearing your hair, imitating, stereotypes of rich and poor (spitting and
feelings require precision, clarity and lorgnettes respectively). Established clichés can be passed down through generations. An
plastic quality in physical expression, actor must protect themselves from these devices and is true of gifted actors capable of
continuity, resolution – hallmarks of good true creativeness. The mistake of most actors is that they do not think about the action
technique/genuine talent. Every moment itself but the results. Feelings are the result of something that has gone before. As for the
of a gifted artist is clear and fully felt – An result, it will produce itself. The public character of his creative activity, an actor attempts
Actor Prepares/ Building a Character to produce more emotion that what he possesses – exaggerating actions, pretending to
express feelings – destructive acting. The protest of his sense of truth is best regulator.

COLLECTIVE CREATIVENESS
Every theatre worker serve the COMMUNION
fundamental aim of the art. They are all 1. Communication with the Public Through Your Partner – maintain an uninterrupted
participants in the production. Anyone exchange of feelings in order to hold the audience. Spectator seeks inner soul of
obstructing the common effort is an character. Co-acting dynamics require attention, technique and discipline.
undesirable member of the community: 2. Giving out and Receiving Rays – invisible currents of energy – lets call them rays.
inhospitable greeting, ruining good Absorbing these rays in an inverse process. In highly emotional states, these rays (given
humour – striking a blow against the goal and received) become definite and tangible.
of the art. Cast, playwright and composer 3. Grasp – a long and coherent chain of feelings can become powerful enough to grasp.
all do their share to create the necessary Seize with our eyes, ears and all senses without unnecessary muscular tension.
atmosphere on their side of the
footlights. The importance for this
interruption-free continuity is also felt
CONTACT WITH THE CONVENTION
during rehearsal. Artists operate Theatricality is a convention – scenic
successfully only under certain necessary AUDIENCE effectiveness in its best sense. Actors’
conditions. A bad rehearsal prevents an Actors must obliquely maintain direct performances should be scenic. That life
actor from conveying thoughts of the contact with the audience rather than must be convincing – cannot stem from
playwright. If order prevails, work is laid explicitly. There is a dynamic with partner palpable falseness. Production may be
out, teamwork is pleasant and fruitful, and spectator that balances the direct realistic, stylized, modernistic,
our art is a collective enterprise with and indirect. The spectator is a witness naturalistic, impressionistic, futuristic in
interdependence – talent thrives with primarily and partner participant. An order to represent true life of human
mutual friendship. audience can influence its dynamic. spirit.
COPYING COSTUMES AND COUNTERACTION
The more gifted a director’s ACCESSORIES Every action meets with a reaction,
demonstrations and deeper impression it Costume can convert an outer through its therefore, intensifying the first. The
makes, the greater it enslaves the actors. outer mantle. It is an important counteraction is a clash of purposes and
S/he will never be able to divert from the psychological moment, and you can tell a all the problems to be solved grow out
impression they have received – then true artist by his attitudes towards his of them. They cause activity which is the
compelled to awkwardly imitate the costume and properties. An actor must basis of art.
model. This shears an actor from creative know how to put on and wear a costume:
freedom and their own opinion about the customs, manners, ways of greeting
role. Let every actor produce what they people, use of props in order to feel the CREATIVE WILL
can within their creative powers. part - Collected Works Vol. III An actor must have a strong power of
will. First duty of an actor is to learn to
control his will. Few actors possess the
CREATING THE INNER LIFE CREATIVE INTENT OF A PLAY will and tenacity to do work which will
Actors and directors should strive to have
OF A ROLE a profound understanding and grasp of
enable them to achieve true art. An
objective is live bait pursued by our
The fundamental aim of art is the the playwright’s creative intent and not creative will – tasty, with substance and
creation of the life of a human spirit and to replace it with any of their own. Actors power to charm. This attracts our
its expression in artistic form. This is why are in the habit of putting attention only attention. Ineffectual until catalyst of
we think about the inner side of a role on the roles assigned – mistake. Very passionate desire is involved. Inspiration
and how to create its spiritual life important that you sense the production for it lies in a fascinating objective. This is
through the internal process of living a as a whole and its entire intent. The part a powerful driving force, a strong magnet
part. When an actor flows organically in will become clear in the context. for our creative will – My Life in Art
their role, deeper subconscious sources
gently open. This is nature at work.

CROWD SCENES
CRITICS Crowd scenes are extraordinarily fatiguing both to directors and actors.
When I asked a journalist how they produced Desirable that rehearsals should be productive – discipline must be enforced
remarkable critics – anyone could blame, but it took a with well-drilled preparation. Crowd scenes require intense discipline. No
specialist to praise. The art of a critic requires one may be late or absent, fail to make notes of director’s instructions etc. If
exceptional talent, emotion memory, knowledge and ordered with distributed workloads, the collective effort will be pleasant,
personal qualities. A critic must be a poet and artist in productive and based on mutual help. You are all producing together and are
order to judge – playwright and actor. A critic must be mutually dependant. Sometimes we turn to individuals in a crowd for varied
impartial so s/he can inspire confidence in their shot types – group quality excites temperament of scene.
opinion.
D
DANCE DIRECTOR DIRECTOR AS DICTATOR
Fundamental part of body work. Dance The responsibility for creating an He is limited to counterfeit
exercise contributes to your ensemble, artistic integrity, characterisation in accordance with the
paralinguistic role. Plasticity, expressiveness and an oeuvre lies with creativeness of others. This leads to
expressiveness of the body is the the director. They are the actor’s cliché acting, violent pressure on the
development of extremities of the arms technical psychologist sensing their actor, over-emphasis on the technical
and legs, wrists, fingers, ankles. Learn psycho-technique, methods, and dominance of a single mindset
to acquire ways of developing, approaches, smorgasbord of emotions stifling collaborative and collective
reinforcing and placing your vertebrae. – the master collaborator. creativity.
Dancing tends to produce fluency, Determination of the through line of
breadth and cadence in gesture. each role – impetus, action, enthuse.
ELEMENTS OF THE
DRAMA INNER CREATIVE STATE
DISCIPLINE DOUBLE FUNCTION On stage, as in real life,
Most difficult subject of study in art of
An iron discipline is An actor’s mood is unstable until elements – action,
a necessity in any theatre. Greek: ‘culminating action’.
his/her part is well-rounded and then Thus dramon the stage is action objectives, circumstances,
group activity. This plateaus when enthusiasm dwindles. sense of truth, attention,
culminating before our eyes and the
applies above all to S/he identifies errors and correct the emotion memory should
a complex theatrical actor is a participating element in it.
discrepancy. The double function of Theatrical art is collective in form and be indivisible. They act
performance. an actor is their ability to balance the simultaneously and
Without discipline rose when poet-playwrights
art of acting and experience. Self- collaborated with actors. Personalities supplement each other. All
there can be no evaluation in progress. necessary to actor’s
theatre art. take appropriate parts to develop
direction given by author. Depth is a creative state as
created through artistic intent. component parts.

E EMOTION AND LOGIC Method: set up a list of actions where various emotions spontaneously manifest themselves. Take, for
example, love. What incidents go into the make-up of this human passion? What actions arouse it? Meeting each other? Conflict?
Agreement? Memories? Little things? Big things? They seek pretexts for another meeting – desire to involve one another in common
interest. They share secrets drawing them together. Advice. Communication. New meetings. Quarrels. Reproaches. Doubts. Fresh
meeting dissipate disagreement. Reconciliation. Obstacles. Correspondence. Rendez-vous. Secrets. First kiss. Demands. Jealousy. Break.
Reunion. Forgiveness. All these actions have inner justification. As a whole, they reflect love. With the right basis of detailed
consequences, proper thinking, sincerity of feeling – each step shows external and internal signs of love. Emotion is specific and not
general. Complex factors - Sum total of feelings, experiences, states. Some are contradictory. In love there is often scorn, admiration,
indifference, ecstacy, prostration, embarrassment and brazenness. An actor must know the nature of feelings, their logic and continuity.
 EMPATHY AND FEELING ENSEMBLE
EMOTION MEMORY Mutual responsibility is required when
The emotions of a reader or hearer
The type of memory which makes you relive on set dynamics with multiple
differ in quality from those of an
sensations once felt – emotion memory. Visual characters is in play. Collective creative
onlooker or principal. Principal feels,
memory can reconstruct inner image of forgotten effort is the root of this kind of art. If
witness shares sympathy, but
thing, place or person – emotion memory brings you mar the ensemble, you commit a
sympathy can induce a direct
back previously experienced feelings. May seem crime. Super-objective and through
reaction. Actor vicariously lives
beyond recall, but triggers, suggestions, thoughts line of action is a common goal where
through character. Witness becomes
and familiar objects can bring them back full proper understanding of the play’s
principal in process- empathy is
force. Recall can recontextualise the previous components is needed from all.
required for authenticity.
emotion memory. Director made distinction
between sensation memory (five senses) and
EXHIBITIONISM
emotion memory. Sight is most receptive ETHICS IN THE THEATRE There are actors in love with
impression. Hearing is sensitive. Smell, taste, Actor needs order, discipline, a code
touch are sometimes important – auxiliary to themselves who show themselves.
of ethics for his/her artistic purposes. They use their lines as a vehicle to
emotion memory. Time is filter for remembered Public eye = best aspects, receiving
feelings – purifies, transmutes into something exhibit vocal attributes, diction,
ovations, accepting praise, glowing manner of recitation, self-technique.
poetic. The broader your emotion memory, the reviews = vanity. Don’t be debauched
richer your material for inner creativeness – Self-admiration and exhibitionism
by the pedestal. Love art in yourself destroy the power of charm. Actor
vivid, powerful, deep, stimulating. and not yourself in art. becomes victim of own endowment.

EXPLOITERS OF ART EXTERNAL TECHNIQUE EYES

Actor lives part inwardly then give external
The theatre attracts many Despite an actor blinded by lighting, they must not
embodiment artistically. Body to soul link
people who merely want to have vacant eyes. The eye attracts spectator’s
important. Actor obliged to prepare
capitalize their beauty or attention – a blank eye lets the attention of the
physical apparatus to represent internal
make careers taking spectator wander away from the stage. The eye is
with sensitivity and precision. Complex
advantage of the ignorance the mirror to the soul. Learn how to show your eyes
human spirits require delicate poise of the
of the public, perverting to spectators. An actor must be able to sustain their
physical as well as voice, diction, intonation,
taste, favouritism, intrigues, look and the object they are looking act must give
phrases, speeches, expression, plasticity of
false success and many the impression of not moving. Turns and movements
movement, paralinguistics. The body is your
means that have no relation are possible with guided expression of the eyes and
instrument in the same way a piano is for
to creative art. These are the face. Regulate your activity so that your eyes can be
Bach and Beethoven. Develop the external
enemies of art. seen. – An Actor Prepares
the express the internal.
F
FACE FAITH FANTASY
Facial expressions are brought about Actor must believe in what is Imagination creates things that can
of their own accord naturally as a happening around them and what happen while fantasy invents things
result of intuition, inner feelings. they’re doing. From actuality to the that are not in existence, which
Their effectiveness can improve imagined life, he must believe in order never have been or will be. Fantasy
through exercise, development of to create. Truth on the stage is and imagination are indispensable.
flexibility of facial muscles. One must whatever we can believe in with Realm of the non-existent is only
be familiar with the muscular sincerity. Truth cannot be separated hinted at so far. Acting gives the
anatomy of the face. Conscious from belief, nor belief from truth. It is opportunity to draw what is
control of all groups of muscles and impossible to live your part without fantastic closer to what is real: logic
the capacity to sense energy flowing both. Believe in what you say on stage and continuity. They help make the
along them – to form expressiveness and you will be convincing. impossible probable.
and gestures.

FINGERS FIRST ACQUAINTANCE

If the eyes are a mirror to the soul WITH A PLAY
then the tips of the fingers are the
The moment of your first meeting with
eyes of the body. Learn to feel with
a part should be unforgettable. There
the tips of your fingers. Even the
is decisive significance to first
slightest tenseness will keep you from
impressions. If properly received, that
entering the realm of the sub-
is a great gauge of future success. Loss
conscious. Develop your wrists and
of this moment is irreparable – second
hands. Hands can assume many
reading no longer contains element of
positions but know how to provide a
surprise so potent in the realm of
justifiable basis for each one. Main
intuitive creativeness. To correct a
thing is to have free fingers, then they
spoiled impression is more difficult
will fall into the right place. Develop
than to create a proper one in the first
extraordinary lightness.
place. First stage of creativeness.
G GENIUS
The creative inner state is
almost always naturally
available. The greater the
simplicity with which one
approaches a genius, the
GESTURE
A gesture for its own sake has no place on the stage.
Gesture should convey the human spirit. Theatrical
conventions, poses, gestures to execution of live
objective to the expression of some inner experience.
Gesture becomes a genuine, meaningful, purposeful
GIVEN CIRCUMSTANCES
This expression means ‘the story of
the play, the facts, events, epoch, time
and place of action, conditions of life,
the actors and directors,
interpretation, mise-en-scene,
more accessible and action. Let every actor above all hold his gestures in production, sets, costumes,
intelligible he becomes. A check to the extent that he controls them and not properties, lighting, sound effects – all
genius must be simple, they him. On the stage, we reject any unmotivated circumstances are the starting point of
that is one of his greatest gesture and accept only action and movement. – development – An Actor Prepares
merits. Building a Character

GROTESQUE
Pushkin can be presented only in tragic grotesque as Moliere can be in tragicomic grotesque. Now we shall examine the
grotesque only from your point of view. All embracing inner content that reaches the limits of exaggeration – an actor must not
only feel and experience human passions in all their universal, component elements – he must over and above this condense
them and produce a manifestation of them so vivid, so irresistible in its expressiveness, so audacious, so bold that it borders on
the burlesque. Grotesque may not be unintelligible, there can be no question mark placed after it. Grotesque makes the actor
smaller. Grotesque without spiritual motive or content. Soulless invention. The pseudo-grotesque is the worst, and the genuine
grotesque is the best kind of art. Pseudo-grotesque is not characterisation and genuine grotesque is greater than simple
characterisation. The true grotesque is the ideal of our theatre creativity.
H
HABITS HERE AND NOW HIGH-TENSION ACTING
Habit is a two-edged sword – harmful The “I am”. An actor should feel it. I Different actors have different
when badly used and great value exist here and now as part of the life conceptions of effect through speech.
when applied correctly. Essential to of the play, on the stage. Find Some try to find it in physical tension.
establish right creative habits. Step by yourself in the role – let them decide They clench their fists, heave, shake
step required to establish trained sincerely how to answer this from head to foot all for the sake of
habits that are incorporated into the question: what would I do here and impressing. Under that method, the
psyche as second nature. The difficult now, if in real life I had to act under voice is pressed out in a horizontal line.
should become habitual, the circumstances analogous to those in It does not produce volume: leads only
habitual, easy and the easy, beautiful. which my part is set? to shouting, and narrowed vocal range.

HOME-WORK
Work at home is indispensable for an
actor. An actor is responsible for their
arms, legs, eyes, face, plasticity of
movement, rhythm, motion, dialogue.
These exercises go on throughout life
as an artist. In rehearsals, actors
merely clarifies the work they should
do at home. Actor should work to
correct shortcomings pointed out to
them by an instructor.
I
“I AM” IDEAL ARTIST
Put yourself in the centre of IMAGINARY OBJECTS
Devoted to a single, large purpose in life: What should I do if a ghost
imaginary circumstances. Existing in to elevate and entertain public with a
the heart of it, on the point of going appeared before me? Be in
high form of art, expounding hidden, communion with the imaginary
into action on my own responsibility. spiritual beauties in the writings of
As a participant you can’t see suspending yours and the
poetic geniuses. A whole life consecrated audience’s disbelief with a
yourself, only what’s around you. You to this high cultural mission. Another
react with your inner nature as in convincing expression of your inner
type of artist may use his personal relation to it rather than a mass of
true life. You sense the play’s truth success to convey own ideas and
subconsciously. Your faith and “I am” effort that will come across as cliché
feelings: a supreme-objective. acting.
follows.

IMAGINATION
Imagination creates things that can be or can happen – Every moment you make on the stage, every word you speak, is the
result of the right life of your imagination. Creative process starts with the imaginative invention of a poet, a writer, the
director of the play, the actor, the scene designer, and others in the production, so the first in order should be imagination. If
you have initiative, you will work untiringly whether awake or asleep. Observation of the nature of gifted people does disclose
to us a way to control the emotion needed in a part. We can prod our creative fantasy and stir up emotion or affective memory
calling upon secret depths beyond reach of the conscious. Our inner eye – visual images, living creatures, human faces,
features, landscapes, material world of objects, settings and so forth. With our inner ear we hear melodies, voices, intonations,
etc. We can be the audience of our own dreams or take active parts in them. An actor must thoroughly work out their
imagination answering the when, where, why and how for a definitive make-believe. – An Actor Prepares, builds, creates

IMITATION IMMOBILITY IMPROVISATION

In my admiration for a great actor I Arbitrary immobility causes Learn by acting – creativeness
attempted to imitate him. It had a extreme tension and tautness of requires practice. Make frequent use
good and bad side – trains you into body and soul. Becomes mechanical of improvisations. This kind of
some good patterns but harms your and cliché – the wrong emphasis. creativeness gives a freshness and
individual creativeness. Imitation was They can only justify remaining immediacy to a performance. Primary
purely external and the strain to immobile by the inner activity of exercises must be mastered to point
physically mimic was cliché. This the spirit dictated by the of execution. Teachers can only push
process can never produce character. psychological pattern of their role. students in the right direction,
training their taste.
IMPROVISATION PT. II INNER ARDOUR
Improvisations that work out themselves are an Anything you do on stage with coldness INNER CREATIVE STATE
excellent way to develop imagination. The
development of imagination works wonders in
inside you will destroy because it will ON THE STAGE
encourage in you the habit of automatic, Overwhelming responsibility and
improv in a group – one actor improvises, mechanical action, without imagination.
another actor responds to their improv through embarrassment can cause stage
What can be more effective than imaginary fright. Incapable of speaking,
evaluation and the desire to maintain fiction that has taken possession of you?
momentum. There is an active, intense, instant listening, thinking, feeling. Complete
Ardent interest in life’s experiences – an concentration of actor’s nature
process of evaluation and improvisation that object of their study and passion. Possess a
takes place – exercising creative laws of organic required. Mobile inner elements.
degree of inner warmth. Enthusiasm Inner creative mood roused = master.
nature and methods of psycho-technique. empowers creativity.

INNER IMAGES AND INNER MOTIVE FORCES INNER TENSION

HEARING Important masters – feelings, the mind and Necessary to handle inner tensions in
willpower. Three impelling movers in our psychic life. another way to muscles. They are like
Actors make their circumstances
Actors emphasise certain sides of inner motive cobwebs while muscles like cables.
vivid, exposing the inner vision. This
sources – the emotional, the intellectual and the Separate the cobwebs and you lose the
inner stream of image is a great
powerful. It is not necessary to allow any of the three structure. Be careful how to handle the
help to the actor in fixing their
elements to crush out either of the others thereby inner psyche. Three stages: tension,
attention on the inner life of their
upsetting the balance and necessary harmony. Our release, justification. Identify what causes
part. Same process occurs when
art recognises all three types and in their creative it, destroy it and justify new inner state
dealing with sounds. We hear
work all three forces play leading parts. based on given circumstances.
imaginary noises with an inner ear.

INSPIRATION AND INSPIRATION ACTORS INTONATIONS AND

INNER VISION
Inner images are formed inside of
Other artists can create when they are under the PUNCTUATION
influence of inspiration. An actor is obliged to call forth Each intonation, there is a certain
us – imaginations, memories and
inspiration at the exact time they perform. Ideal situation effect: exclamation of sympathy,
then externalised for examination.
– vicariously immersed in the role, sub-conscious acting approval or protest, an colons
Yet we look at these imagined
flair underscored by inspiration. Art teaches us to create demand attentive consideration for
objects from the inside with inner
consciously and then prepare onwards. Actors are known what follows. These signs are
eyes. Despite being external, they
to have inspirational flourishes. Some actors believe any dynamic and expressive. Even the
are shaped within our imagination
conscious approach to their art is a nuisance. This is a comma has dramatic effect. They
and memory.
gamble. Accident is not art. are emotive in quality.
J JUSTIFICATION
We have imagined circumstances and actions
that satisfy our sense of artistic truth through
faith in narrative and the reality of sensations.
This is justification of the part. Appraising the
K KERNEL OF A PLAY OR PART
Create inner life of a play and its physical
embodiment on the stage with kernel and
idea which gave birth to the work of the
playwright. Problem: to create an inner life for
facts of the narrative justifies its motive and a play and its characters and to express in
endows a story with the necessary life force physical and dramatic terms – the kernel – the
required to embark on the magical fundamental core – the idea that impelled the
collaborative nature of its journey. writer, poet, to produce the composition.

L
LIMITATIONS LIVING A PART
Nature places limitations that make Life of the human spirit is the cornerstone of living a part: feelings, subconscious,
some parts of imagination regarding a creation. Highest regard is for impressions made on our emotions, impressions
part implausible. Undertaking made on the spectator and actor that is transformative – its ability to open up
problems beyond the power to solve. avenues for inspiration and to carry out the main objectives for the actor. To
Limitations can result in stereotyped, ability to fit own human qualities to the life of the ‘other person’, pouring their
mechanical action. The aim for every differences into their own soul. Form will vary according to necessities of the play
actor is to challenge the limits of but human emotions of the artist remain alive and cannot be replaced. Never
realism in their attempt to realise a allow yourself any exception to the rule of using your own feelings. Feel the thing
part. you are portraying to greater degrees over and over.

LIVING IMAGE LOGIC AND CONTINUITY

An actor is called upon to create an Logic and continuity are of prime importance. Illogical and incoherent characters
image while they are on stage and not must be represented within the logical plan and framework of a whole play.
just show themselves off. All actors Physical actions can connect to all elements of a part. Prepare a logical and
should make use of characterisation. It coherent line of physical actions that signify character traits. Do not think about
can become their alter ego, their your emotions. Think about what you have to do. You are in danger of conveying
double. They are under the spell of passions, images and actions in generalized form otherwise. Actor is kept in
another character. constant exercise. Daily need to exercise actions without props.
M
MAGIC IF MAKE-UP MATERIAL FOR
Moment of the appearance of the
‘magic if’ when the actor passes from
Like costume, its ability to help you CREATIVENESS
transform the psychology based on a Add to your inner portfolio –
the plane of actual reality into new aesthetic – responding to the impressions, feelings, experiences,
‘another life’ created and imagined. demands of lighting, your presence knowledge, memories, journeys,
This is not a hallucination, it is a self- on stage and the ability of it to help perceptions, interactions,
aware belief in an alter-ego open up liberty in acting. Every actor imagination, books, art, science,
surrounded by imaginary contexts. should have an attitude of great theory, conflict, conjecture,
The magic if does not use fear or respect, affection and attention for interpretation. Enlarge your canvas
force – a sincere inner stimulus their make-up. extend your circle of creativity.
adding contingencies of own life.

MECHANICAL ACTING MEMORY

MEASURE - PROPORTION Established clichés have been passed At moments of intense creativity,
We cannot leave things to chance. A down from generation to generation. one’s memory may fail and break the
sense of measure – breaking up an Still others are invented by the actors continuity of a line of transmitting the
act into manageable elements. themselves. Time and constant habit verbal text of the play. A
Understanding not to overact or make senseless things nears and dear. preoccupation with remembering the
overreach but realise that minimalism No matter how skilful an actor, they words deprives an actor of the
produces clarity and authenticity. may resort to mechanical conventions capacity for them to give themselves
reinforcing artifice rather than freely but it is all important for an
authenticity. actor to have a good memory.

MISE-EN-SCENE
MIRROR The responsibility for creating this ensemble for its artistic integrity, the
You must be very carful in the use of expressiveness of the overall performance lies with the director. The whole plan
a mirror. It teaches an actor watch of the production involves every element of the narrative canvas. The creative
the outside rather than the inside of work of the director must proceed in unison with that of the actors and not out-
a soul, both in himself and in his part. distance it nor hold it back. He must facilitate the creativeness of the actors,
supervise and integrate it, taking care that it evolves naturally and only from the
true artistic kernel of the play. This joint work of the director and the actors, this
search for the essential kernel of the plays, begins with analysis and proceeds
along the line of through-going action. This applies also to the external shaping
of the performance. That should be the objective of a director nowadays.
N
NAIVETE NATURALISM
Precious asset for an actor – cannot Those who that that we sought naturalism
be fabricated or the result is on the stage are mistaken. We sought inner
affectation. Every actor is to some truth and the truth of feeling and
degree naïve. Most mask this quality experience – the soul. We had not reached
in life out of embarrassment. Carping the stage where we could interpret the
criticism interferes with it. One spiritual side; we exaggerated the external
cannot be over meticulous and side. This remained without inner
analytical when using one’s justification – for lifeless objects, properties
imagination. Faith and sense of truth and sounds. Resulted in naked naturalism.
are pivotal. Don’t use naturalism for its own sake. It is
anti-artistic.

NATURE
The greatest artist we know is nature – part of our physical and spiritual
make up. This admitted lack of knowledge is the outgrowth of wisdom. Let’s
study Creative Nature. Adjustment happens naturally, spontaneously,
unconsciously when emotions are at their height. It is our Creative nature.
That type is direct, vivid, convincing and represents the effective method
needed. We convey barely perceptible shades of feeling. You can go astray
only if you do not have confidence in Nature. Nature’s laws are binding
without exception and woe to those who break them.

O
OBJECTIVES OBSERVATIONS
Life, people, circumstances constantly put up barriers. Each An actor should be observant in real life as well as on
barrier presents us with the objective of getting through it. stage. The powers of observation are intuitive to
Each structured play has one purpose – the creative performance. How do we observe a facial expression,
objective. Every objective requires action, aspiration, the look of the eye, the tone of the voice in order to
purpose. Objectives should be achievable – physical, evaluate someone’s state of mind? If they could do this,
psychological – usually bound together. Slightly favour the their creative work would be immeasurably richer, finer
physical to help crate the right psychological state. Make and deeper. This requires work, time, desire to succeed
sure objectives are active and not stagnant and mechanical and systematic practice. Nature should be a source of
(leading to cliché acting). observation.
P
PAUSES IN SPEECH PERFORMANCE PERFORMING “IN
It is only when it is performed on
The logical pause mechanically
stage that a play is revealed in all its
GENERAL”
shapes the measures, whole phrases ‘In general’ is the bane of the theatre.
of the text and thereby contributes to fullness and essence. Actors aim to
Portraying feeling in general without
intelligibility. The psychological pause remain true to the subtext and
relation to the why or backstory
adds life to thoughts. It is an eloquent through line of action. Spontaneity
complete with circumstances is ‘ham’
silence. It helps to convey the and the unexpected are both stimuli
acting. Don’t arouse feeling for its
subtextual content of the words. to creativity. Performance must also
own sake – all feelings must result
Pauses also allows for a quick intake consider tempo-rhythm, tone and
from its context. For true art, ‘in
of breath. tension and the super-objective.
general’ is incompatible.

PERSPECTIVE IN CHARACTER BUILDING PLASTICITY OF MOTION

Perspective means: the calculated, harmonious inter- The more subtle the emotions, the greater the clarity,
relationship and distribution of parts in a whole play or precision and plasticity needed to convey them in physical
role. Acting needs perspective. Against depth of form. Among dramatic actors, some use plasticity for the
background he plays out whole actions, and speaks sole purpose of impressing admirers of the opposite sex.
whole thoughts. After perspective, we are obliged to Lend an attentive ear to your own mechanics, and sense
adhere to qualities of consecutiveness, tone and energy rising from the deepest wells of your being. Energy,
harmony. As a part moves along we have two heated by emotion, charged with will, directed by intellect
perspectives – the character portrayed and the actor manifests itself in action, full of feeling, content and
themselves. Keep in perspective – breadth, sweep, purpose. Art originates when unbroken line is established.
momentum to inner experience and external actions. Plasticity of body movement creates narrative fluency and
inner flow.
PLAYWRIGHT DOMINATES PLOT
A theatre where the most powerful personality is the There are plays where external plot is the mainspring of
playwright. Interesting elements are: general concepts of action. The best thing is when form or content are in
an approach to a play, treatment of ideas, style, harmony – in such plays it is not the facts but the
characters, psychology etc. In every pose, intonation, relationship of the characters that constitutes the centre of
gesture of an actor – an idea is concealed with some interest. There, the life of the human spirit is inseparable
generalization, allegory, knowledge etc. The playwright’s from the facts of the plot. Let the actor learn the facts, their
work is revealed by the director – others submit to the sequence and their external physical connection with one
creative initiative – all attempt to convey the intent of another. It helps to get to the inner substance,
the production with all the skill they can muster. interrelationships and interdependence through plot.
 PRE-PERFORMANCE PREPARATION PSYCHO-TECHNIQUE
Most actors put on costumes and make-up to get into character but In the soul of a human being there are certain elements – subject
they forget the inner preparation. Why don’t they put make-up and to consciousness and will. They are capable of acting on psychic
costume on their souls? The actor should arrive two hours ahead of processes to rouse your subconscious to creative work (a special
their entrance and begin to get themselves in form. A sculptor technique). Feel your way into role – eyes of the soul are opened
kneads their clay before they begin to use it. Exercise with great – acute awareness – conscious of feelings, conceptions, visions,
care – go over the fundamental parts of your role. All these attitudes both in role and the self. No technical means to gain
preparatory exercise test your expressive apparatus and will tune control of subconscious. Can only teach the indirect method to
your inner creative instrument. approach it and give selves up to power. He throws his whole
being passionately into its execution – inspiration.

PUBLIC SOLITUDE
In a circle of light on the stage you REHEARSAL
have the sensation of being An actor practices the creative mood –
performing, rehearsing, working at home.
entirely alone., Called public
Actor is obligated to produce their part in full,
RELAXATION OF
solitude. Enclose yourself in this
circle like a snail in its shell. You give the right responses to the partner and MUSCLES
can carry it wherever you go. follow the laid-out line of the play otherwise Actors usually strain themselves
the rehearsal loses all meaning. If the right in the exciting moments.

R
attitude and execution is given, a splendid Therefore at times of great
REALISM atmosphere is established. Many actors don’t stress it is especially necessary
Among theatre leaders, actors, take creative initiative. Some are led by the to achieve a complete freedom
spectators, critics, there are many that path of action rather than leading it. This of muscles. Until this control
prefer theatricality to artificiality. As a passivity is dangerous to acting dynamics. becomes a habit, give a lot of
result, they can aspire to achieve anti- Only directors know how much work, through to it. Later, this relaxing
realistic forms. Others prefer natural inventiveness, patience, nervous strength and of the muscles should become a
truthfulness: realism. They search for the time it takes to push such actors of weak, normal phenomenon. This
catharsis of souls through powerful creative impulse from their dead centre. It is removal of unnecessary
impressions. One can indulge in profiting through the creative work of others. tenseness should be developed
naturalism. Truth on stage must be real Each actor must bring to rehearsal their own into a natural necessity, not
but rendered poetic through creativity. living emotions. Actors are not puppets. only during the quieter parts of
Impressionism are accepted only in so far When you reach the stage of virtuosity in your role, but especially at
as they represent realism in a refine, your psycho-technique, rehearsals go easily, times of the greatest nervous
ennobled, distilled rom. quickly and according to plan. and physical lift.
REPEATED FEELINGS RESTRAINT IN GESTURES
“REPRESENTATION” An actor’s performance with a
we ever feel things for the first time? Feelings we have
never experienced in real life? These direct, powerful ACTING multiplicity of gestures is a messy
and vivid emotions do not make their appearance on An actor lives their part – partial sheet of paper. They must rid
the stage like you think… They flash out in short identity with method. Mechanically themselves of superfluous gestures.
episodes. We can’t control them. They control us. We trained muscles. Living the role is a Avoid involuntary movements. It is
must leave it to nature. An infusion of unexpected, preparatory stage of artistic work. important in the field of
unconscious feelings is very tempting. Repeated Skilful technique lessens exertion in characterisation. Many gestures to
feelings are drawn from emotion memory – they the long run. Effective but not symbolise character traits ironically
influence inspiration. delicate and deep. requires economy of movement.
Must not be repeated too often
either.
ROLE INSIDE THE ACTOR
Some parts have been creating themselves in his inner consciousness for a long time. The role and
its image have been created within him by nature itself. The author’s words become his words. SCORE OF A ROLE
This is a miracle – to make sacrifices, to be patient, suffer and work. You feel yourself inside the This is a long catalogue of minor and
role, in the atmosphere of the play and their mannerisms end up influencing yours. This merging major objectives, units, scenes, acts,
with your part we call the achievement of a sense of being inside your part and its being inside of the score of the role… One can call
you. When an actor grasps the play with his whole being, it is good fortune for the director. These them natural objectives. The hope is
rare circumstances cause plays to come to life and creates a new dynamic for the director to work that excites the actors by its inner
with. Eventually, an actor can finally fill out their role as they become better acquainted with it. truth – impulses, intimations that
constitute inner tone. The tone of
the score sets the atmosphere of a
SCENERY AND scene externally. The aim of the

S
SCENE DESIGNER DOMINATES PROPERTIES score is to portray human passions –
Let us suppose that the scene designer is All the externals of a production are rich, colourful, varied. An actor must
paramount in a theatre. The underlying of value only in so far as they know the nature of a passion – how
essence of the play will be sensed more enhance the expressiveness of the to cull the component units,
vividly in colours, sets, painting-like dramatic action. It is of no matter objectives, moments that add up in
compositions of group scenes. Some whether the scenery is conventional, their sum total to human passion.
theatres founded on the tyranny of the stylized or realistic as long as it is The score saturates every particle of
scene designer. People fall prey to the appropriate. The important thing is the actor’s inner being. All remaining
external enchantment of the scene designer. that the sets are convincing to the objectives converge into a super-
audience and actors. objective and its attainment.
 SELF-CRITICISM SENSE OF TRUTH ON THE STAGE SINCERITY OF EMOTIONS
Fear your admirers! Learn to Best stimulus to emotion, Pushkin spoke of ‘sincerity of
understand the cruel truth about imagination and creativeness. No emotions and feelings that seem true
yourselves. Talk about your art only such thing as actuality on stage. Art is in given circumstances. We work over
with those that can tell you the truth. the product of imagination. Aim of them supplementing them out of our
The majority of actors are afraid of the actor is to turn the play into a own imagination. You will see how
the truth because it can break in the theatrical reality. Scenic truth is easy it will be for you sincerely to
actor his faith in himself. general background to feelings. Think believe in the possibility of what you
of circumstances and conditions. are called upon to do on the stage.

SOLILOQUY SPEECH We need firm foundations for our art, in particular the art of speech and the ability to
When do we talk to ourselves? speak verse. We realise how ridiculous we are when we have to convey complicated emotions.
Whenever we are so stirred up we Speech is music. Pronunciation on the stage is as difficult as the art of singing. It requires training
cannot contain ourselves or wrestling and a technique bordering on virtuosity. Give a vivid ornament of sound to the living content of
with an idea that is hard to assimilate, the words – he causes me to glimpse with an inner vision the images he has fashioned out of his
memorising, impress it on own creative imagination. Every actor must be in possession of excellent diction and
consciousness, or to relieve feelings. pronunciation. Not just phrases and words but syllables and letters. Poor speech even conceals the
The nerve and psychic centre of our thought, the plot causing audiences to fidget and cough. This spells ruin for the play. Time for the
being. Brain holding intercourse with use of clear, beautiful, vivid speech. It is not just sound but an evocation of images – your job is to
feelings. instil inner visions and convey them in words.

SPEECH TEMPO-RHYTHM SPOKEN LINES

Letters, syllables, words – musical notes of speech out of which fashion measures, arias, An actor should know their own
symphonies. Why is speech musical Words spoken with resonance and sweep are more affecting. tongue. What use will subtleties of
There is great difference between a phrase enunciated in whole and quarter or sixteenth notes. emotions have if they are expressed
The difference between calm and agitation. Careless speech is mutilated. No manifestations of in poor speech? Hope that no
thoughtlessness except where a change of tempo-rhythm is called for on purpose for the mechanical chattering will disturb
characterisation of a part. Two important elements – smoothness (fluidity, resonance, fluency) the basic pattern of the subtext.
and rapidity (lightness, clarity, crispness) in pronunciation. Replace silent pauses with sonorous
cadences – the sustained singing tone of the words. It will help you read slowly to the timing of
the metronome. A clear-cut rhythm of speech helps produce clear speech. Meaning can be
elucidated through tempo-rhythm without understanding of its content.
 STAGE FRIGHT STAGE SETTINGS
SPONTANEITY The most important is the abnormal circumstance of an Surroundings have a great influence
Spontaneity is the only way to keep actor’s creative work – muscular tautness interferes with over feelings. When external
a role fresh, on the move. Lacking inner emotional experience. The eyes of the public can production is inwardly tied up with
this means the standard and seem like an intimidating radar yet some actors learn to the spiritual life of the actor it
dynamic nature of your refocus their attention in a way that helps them conquer acquires more significance on the
performance my fade after a few stage fright. The powerlessness to do the impossible stage than in real life. If the right
performances. The unexpected is should not fill you with fear – by letting yourself go can mood is produced it helps the actors
often a most effective lever in inspire fearlessness. Approval can boil an energy within formulate the inner aspect of their
creative work. you – the footlights and the black hole disappeared from role, influencing the psychic state and
consciousness and they were free from all fear. capacity to feel.

STIMULI TO EMOTION SUBCONSCIOUS

One of the main objectives pursued in our approach to SUBTEXT
MEMORY acting is natural stimulus to creativeness of organic Subtext is applied by the actor – the
Director uses all material means – nature and its subconsciousness. It is fair to say that this printed play is not a finished piece of
set, lighting, sound effects, technique bears the same relation to subconscious work until it is played on the stage by
accessories to impress public. Actors creative nature as grammar does to poetry. We see, hear, actors and brought to life by genuine
create an illusion of real life and its understand and think differently before and after we human emotions – this
moods – external stimuli triggers cross the threshold of the subconscious. Our freedom on reinterpretation shows the vast powers
belief in inner vision. The bond this side is limited by reason and conventions. Beyond it, of subjective subtext. Their spiritual
between the lure and feeling is our freedom is bold, wilful, active and always moving. inner essence adds subtext to the
natural and should be employed. You will learn to strive for unconscious acting state. piece. Actors can be lazy with digging
down to subtext, some overreach for it.
SUPER-OBJECTIVE SYMBOLISM The danger is mechanical acting
The essential idea, the core and without subtext and depth. Searching
Hard nut to crack – successful when it has its source
impetus of the play. All minor for the inner essence takes work –
not in the mind but in the inner soul. Symbol and
objectives of the actor converge into elusive, difficult to pin down. Words
grotesque become alike. Play a role hundreds of times
the super-objective: a collection of are designs of visual images.
to crystallize its essence and interpret the quintessence
goals, thoughts, feelings and actions. Communicate to others what you see
of its contents. The symbol and grotesque synthesise
Impetus towards the super-objective with your inner vision – images created
feelings and life. It is only when inner and outer life of
must be continuous throughout the by imagination. Up to you to convert
an actor is developed naturally in accordance with the
play. One must surrender images into reality. When subtext and
laws of nature that the superconscious will emerge
passionately to it with unequivocal intellectual content merge – the super-
from its secret sources.
action. objective is achievable.
T
TALENT TEMPO-RHYTHM IN MOVEMENT Inner and outer tempo-rhythm
Not easy to define or dissect – buried deep combine in movement. Collective action and speech – extract the tempo-rhythms
and difficult to evoke. Felicitous combination out of the chaos. Shape your own independent, individual lines of speeds,
of creative capacities governed by will. measures of speech, movements, emotional experience, syllables, words, actions
Technique exists in this with talent and and rhythm. Tempo-rhythm does possess the magic power to affect your inner
inspiration. The more talent and actor has mood. It excites your emotion memory and brings your visual memory and its
the more they care about their technique. images to life. Tempo-rhythm nourishes feelings. Tempo-rhythm is created
Inspiration comes by natural means through correctly of its own accord with the right perception to events taking place.
repetition of the role. Talent = memory, Different tempo-rhythms provoke an internal struggle of contradictory origins. The
imagination, sensitiveness, tempo-rhythm of the whole play is the tempo-rhythm of the through line of action
impresssionability. Stage charm. and the subtextual content of the play.

TERMINOLOGY TEXT
My task is to talk to an actor in To become the partner of a THEATRE AND STUDIO
their own language, not in order to playwright, to perform their work on Longing for life-giving beauty. Field of aesthetics is
philosophize about art but rather stage, the actor must explore the the field of theatre. Art of theatre is vivid, pictorial
to define creative feelings in verbal verbal form as well as the form. and accessible for all. It should facilitate work for
terms. Some adopt the terms Words not impregnated with inner scene designers, directors, actors etc. Art is
without understanding their feeling are empty sounds. Simplest collective and complex. There are capable artists not
feelings. Don’t use method for its words if conveying complex thoughts reaching their potential. They must have initiative.
own sake. The means may not be can change an outlook on life. Look for veterans with experience, wisdom,
converted into the end goal. Creative value of the text is in its endurance and devotion to their work.
inner content – the subtext.

THROUGH LINE OF ACTION TRADITIONS

THEATRICAL EMOTIONS Main theme gave birth to writing of the play. Inner Difficult to ascertain the spiritual essence
No matter how skilful an actor may be line of effort guides actors from beginning to end of the traditions of a theatrical genius.
in choice of conventions – if with continuity or ‘through line of action’. Line of The accomplishment of a lifetime is
mechanical – they cannot move the action and theme are organically part of the play summed up in a brief formula. Art lives
spectators. They must have theatrical and cannot be disregard from life of play. Through for a moment but lives on with actors.
emotions. Avoid false acting – over line of action is a powerful stimulant as a means of Beware the artificiality of some
acting. This emotion can make an affecting the subconscious. It galvanizes small units traditions.
impression – imitation of emotion. and objects directing them towards super- TRAGEDY = tragic depths, give problem to
Search for authenticity of emotion. objective. This impetus must be continuous. solve rather than end goal of acting –
requires a stretch – live the role.
TRICKS – EFFECTIVE TRUE ACTING TUMBLING
One cannot always create Add tumbling to activities – helps in great moments of highest
ADAPTATIONS subconsciously and with exaltation and creative inspiration. An actor must be like an
Tricks – contrived expression of inspiration. No such genius acrobat and cannot stop to think, doubt, weigh
inner feelings and thoughts – exists. To be right, logical, considerations, to make ready and test themselves. They
invisible messages that coherent, to think, strive, feel must act. Some actors dread the big moments and
supposedly can’t be put into and act in unison with your role. painstakingly try to prepare for them. They must learn to let
words. Don’t just use Take internal process and adapt themselves go. Develop will-power in your bodily movements
alternations in tempo-rhythm to them to your spiritual and and actions so you can carry on living the role without
entertain. These adaptations physical life of the person you thinking, surrendering to intuition and inspiration.
lose meaning. are representing.

TYPES
In the world of dramatic art – categories – good, villainous, suffering, bright,
stupid etc. This is type casting. Tragedians, dramatic lovers, second-line lovers
and dandies, dramatic and comic old men and women, noble fathers, character
parts, moralists, comedians and simple-minded creatures, farce comedians,
vaudeville lovers, grande dames, dramatic and comic ingenues. The most ardent
partisans of the custom of type-casting are poorly endowed actors whose range is
one-sided. A true artist does not hold with type-casting: the character actor. Good
and bad. The roles for which you haven’t the appropriate feelings are those you
will never play will. The differences are made not by types but by inner qualities.

U
UNBROKEN LINE UNITS, EPISODES UNTRUTH ON THE
Art must have an unbroken line flowing Break up play into small units –
from past through present into the division is temporary – only for
STAGE
A sense of truth contains what is
future. Only when an actor has deeper preparation. This makes rehearsals
untrue as well. It sets the pitch and
understanding of their part that this and entering the role manageable.
shows you what not to do. A truth
line gradually emerges as a continuous The right name which crystallizes
will grow broader and deeper and
whole. If inner line is broken, an actor the essence of a unit, discovers its
lead to inspiration. An untruth will
no longer understands what is being fundamental objective.
lead to forced acting, clichés,
said or done and they cease to have
pretentiousness etc.
desires or emotions.
V
VOICE VOICE VOLUME
Deals primarily with breathing and vibration of sustained notes. Often held that Volume is not to be sought in high
only vowels can be sustained. Don’t consonants possess this quality too? Why tension – not in loudness or shouting
should they not be developed as vibrant as vowels? Every actor should have but in raising and lowering –
good diction and pronunciation – in control of minute detail, modulation, intonations.
shadings. Greatest gifts to creative nature – a beautiful, vibrant, expressive and
powerful voice. When you sense the possibilities opened up to you by a well-
placed voice, capable of exercising its naturally predestined functions…you only
need three things, says Salvini, “voice, voice and more voice”.

W
WALKING ON THE STAGE WHAT IS THE SYSTEM?
We are obliged to walk correctly as My system is the result of lifelong searchings. There are no formulas on how to
nature intended. Some walk in become a great actor. It is made up of steps towards the true creative state of an
unnatural forms and picturesqueness. actor on stage. To achieve the normal living state, an actor has to be physically
That theatrical, stagey walk is not to be free, alert, to listen and observe on the stage dynamically, believe in what is
confused with true stage walk based happening. Secondly, a true inner creative state on stage makes it possible for an
on natural laws. actor to execute actions necessary to take on inner psychological actions or
external and physical ones… External and internal interact naturally. The union of
these two actions results in organic action on stage. Action is determined by the
play’s subject, idea, characterisation and circumstance of the play’s context.

What would I do if the same thing should happen to me as it does in the play to
the character I am playing? – reasons, justification of character – act without
reflect about where your own actions end and theirs begin.

True organic action – sincere feelings – on the stage a true inner creative state,
action and feeling result in natural life on the stage in the form of one of the
characters – this is metamorphosis. It is a way of life.

If you work with desire, you will come to know your own nature through
discipline, talent, passion and effort. Gradually study the method – all people
possess the same human nature – it manifests in varying ways.