‘THE SYSTEM'S TERMINOLOGY: ‘A SELECTED GLOSSARY! Active Analy (Destenngeaie) ‘Sansaskys ne eh eto for exploring dramatic srt, ‘fc andthe dynamics of interaction between characters. Anas ie “ace” ecru cart members examine the play “on he et” etn tr uerstanding of how characters mit 19 and onient ‘och other trou mprovsaons of somes Ua ecu i the play Sind paraphrase the ext. These carer serve se socesive deale {er ftur performance ofthe tot Stank worked ot the dts ‘of hs method nthe at four yer of his fe during rehearsals on Mal’ ae fee in contat "Active Cognition ‘TwAR/ToPay Ue) “Tne Resin word most commonly ise to deserbe wht an actor does dung perormance can be arsed both as act” and "to ‘ly Bene normal Rasa ge sugges the rly of Sage enenton cha to playac” des English, Slarishvsky ys thisterm fori Syste See contest "To Aa/To Take Actin") TWAT Take Acton Disa! "Tye ver Stanstaaky ses to descrbe wha the acer dows during pe {ermaoce nchocsing ths vers Gem he ssn “acon” A, he ‘erp tht ete communicates tugh action a tha them for teatrs metal ncn tke ation” Tahaan his ‘ab for Ne Seem Stans snvokes the etymology a drama om the Grek den tod Coxon Engl lations of eto ‘a clade "Wo ae.” erac” and "to betave” fee “Ach ‘Acton (Dest) "Wt the actor dost ove the poem oul the ak et before or hrc By the play. Inthe Stem, "action" is expressed ‘cam ative very both mea” "mer fru) and py Se"/"uter (fear ene) The seve factions discovered ‘Brough analy of the role crests "a acoe of sions” (pete eso) which gues the aor Uvough his oF her ‘atone must be apt Gabor) i eatonsip Wo the carne {ers cumstances and mit ll soc othe “logcally” Uo) Sn Scones (aldol). Starslashy Places ation a ‘he Bert of he Sytem he eleves that action distinguishes drama ftom all ther ats ss dors Arte See "Counter Aton,” “Tsk? Problem,” "Tough Acton") ‘Acweale Ariston) “herding ta Salas, when the actor a artis cents a chare- {er succesful, the zl an enti new bing the ator ele ‘imposed pty of the actor's wm spt and Desh and pay of the playwright concept. see "Huan Being Actor _Adspaton Prius) "Phe actor's ajustnent of is er action tothe specie ceca “Sanco defined y the play’ and/or preston. How an action Is Frrformed depends upon the conditions in he scene for samp Se wil cle 2 Sor erent to avo a drat and to hep ot 8 rminal [Sein contrast" Genera) Adpment (Se "Adaptation" ‘ilecive Cogntion (Chun oon) “ls called "cognitive analy (est ny an), tanisavsky’s ‘iy wheal prosedure for analysing play. Tis meta teaches ‘Store deco oschelementan the ply at mgt and oan 3 ‘Sincretely ox posible all the deta ofthe characters esi der fe bald uindestanding and empathy (encourages extended Sex ‘Sorin whch cst merbers ak about every aspect ofthe ly at the able” sm aaa encourages ator to work rsd ty vraleng the conditions an deta the characters ves. Se ‘nonrast "Active Anas" Atutve Memory eso prea’) ‘hsm, horned fam French expriental psychologlt Thule ino io, ns tow huang aby oe pr Srowly experienced emotional sates by weallng the acompanang Physic sean Sitvsky species hat emus a Se {tne anlogns with theo he rele may help actors eter andes tind thar carat ccumtanes, He eperanted wih ths Concept in his ery mek onthe System af the Ft Sead Butte ‘Stn pido, He wormed tht mation real ou uh nto Bal ‘Rt eating to the hsonary if acu, and thas became Smthing over hich he actor has po cnt. He cautions aca {ihe coettes mental ygne bo 0 ha word that hh {puron scsly revive psteoton and reenperencs ly ‘stn proce the nals otamount tos popes allan) ‘Shanty sees at bt rented epated, meat, Suomi (tog) ence contaabe emtars,nt pea. st Time ech) anes. Moreover Sansivsky remind the aoe hat ‘Sms empathy” Gon drat ofthe ver We) can Be ‘wer one's hm emote sm cate work Thus he agis student that sing fo mene eading avon, and ii tng ther minds and empties a Sond pombe at devop ther afecive memories Lee Strasberg ted the operation of ae “tive memory ino a ating ehnigu that has bem the cores he Matha. Hapyoed tants the erm a "eration Mey ‘uoumon ape calle “ecto memory” Ise “To Fel/To Sse” "Sense Mery") Bost [Se “BT Besa ‘The ansytilsegment or “uni” (Hapgood translation no which Ihe ctr divides the play A ew “at begs whenever he action the sora shit, nt with the player's dvaona into ats ad scenes Inthe Und Site, tl term fas been tetra nt Sent" hich may dere in “a ofthe ply sre otek bead” m3 neclae When pronounced wth 2 Ruan acer By cig teachers (cic Sabon ao Siompa) ‘Any well wom thestril contention, sed mechanically aking hs “erm” Gero) of tue meaning. Stanislas examples ine 2 ‘an tothe frend 1 nda sek or weakness, he wringing of ‘hanakeret oporay gh, Jmpig ory and chtching one's Iara the moment of dent (Soe “Crates” "nding in General” "Posturi CCommunsation Obshoren) Tntracion among scene patrre and between actos and audience, The Russian word suggats “communion” vakurng” "mserocing” "elting” "being in contac” Wie commamiestion nly pic. the uso words Stanislas also ides the oneal Ifuenced bys tay of aga he valine communications the acing Sd een of rye of energy, mich ke pyc rai wes Fe Ga ths exchange “lmarabon” and “emanation” (huiene and ‘lute im te rot "he See Pra ‘Concentration Vian) Dering pertrmance, Sanilavsky expects actors give thai fal pint metal and pial steno aman) mother words thal concentration aston), othe actos ofthe las thee scene pares andthe oct cesar tothe work He alle tthe pout of acs, whether anirate or animate the “objet (aka atenton Saceslconcenraton fore 2 tat fm that apeats to soll actors fom arg enteral fo the wood of the play, what he cls "pub oltade™ (pun ete) Tettenced by mecation techniques of Yous he ae concentration ty defining “ares of steton” owt oven that canbe led” o lage” Actors hora ana it Ne focus toaly those “objects within the deed ce Emin acres ‘ou Snes wh oa tay Fi Sa ed Ui tchrue “geting no the cil (See Publ Soltde Counter Ation odes Poel) ‘Avumed in Ae Any When he iby’ ciramsancs rst inc ith sate fr pemenive th oe coneaie tery" ett) onecaracers acon mets the cour acton ‘another Tes ch prac drama cnc ever toon feral acon hr acter) can be eid In the py 20 an the acer find an oval wounectrgh acon” Conor ‘Butnd at extends tooghot the pla Sve "Aco" Tk” ugh Acton) Cratanship ome) Troeatonal acing, which operates prnasly though wc ee andres upon welkworn hese conventions cas) ‘Sinutvaty ceteris ype of tiga evo of toe art. Whe at” has postive conoaton i Enghsh Sunlashy ues pepratvly ce “ich “Psturing” hon “Experiencing ative en red "Any tna es nroduced int te rebel of sen in onder Achat tears iapinaion, When oe fin nese at eine its such an ls can oe nw imple and a enewed approach. ‘The Ranson wd canbe wart ae "env “Aton as pm ning ug pe ogee ee ragiations “Lure Devie Pre) os “Any pec exercise or method of procedure tat fcaes the be Tare technique Forexamgle Sunsiavay eas the Method ‘rmytal Actions and Active Arapsis eves” Ech “deve” present an seement ret of the Sten ot he System a 8 Mote As watdoword forte Rosan Pout shoo! of erry ‘Gite “deca those dete apts an aoe work, Which ‘Sete tssracture eg metaphors, fytims of speck epettions Sin pttero nto estan another tae hese Bulding ‘State centers work, dos am actor bad performance tough these of Seven ‘Cielng. Forma, however, ‘Sansa wns tha a evs mast Be inburd wih ner on tenand moaing thy shou not become mete chia ete Dynami Atoms) The sate of being n action, which in Stanisaahy’s eyes the Proper state forthe actor perormance. Se “Achon ic rages ee “Vous Embaiient Vote) "That phase Inthe actor's work that incorporates phys alts in Ihe caton fake fee “Lie of he Han By ee Rae]Emotion Memory Se “Allene Mey Ermotoal Meany [se Altetne Memory) fate Stenistohy ues th ech word “ade” t fer non sped Seen petal by scar wat in Ameran age I ced SSmprvnnion” He ake start pron ees the own words rom star tit he ould device prepa ces Toma owe Haba employe nem evr al eon ye ‘tg ee ye "ster in Active Anas tht denies the hc rca lamest CW rama, An sve” debs snyhng that happens wn the Ply rg aout tough te acon te arse The tc [he rin) event sot the payin tn Ai on) vent inone wou wh sar con onc "Inde trent of sees inporance he pay Saray sa he Flay avs Sham agp ven tat it om begining To em, {ny ear of wich te sry ta) tT ca st Uhh aon” Gt ot lay whi ie ca Beh ca a ‘Atve Anaya str expo hw te aos evens te ly {cae dercopmet tthe wes se Sony EspeeningPrecern) “hed Lin of ting red bythe System which he cor crest ane a very prance lw tthe oe Soe the acars cane oc al Sch acting: however well hoocd snd wel veered, minnie an esely see sad Ipistor ttre Sunny ase tem fo dingo No Geowe fom al ober He tad ured “experening fe of his feat sco, Touma Sav (820919), who ‘Stewed tate str whe carver does rng pe ance and won Suisavky dnl Gute Sule) Sap thet tit however root Wat 60) woh bo Tide spo tha 18 coments fo exper her than Inowsdge“niecing” the ais wie ents enol ‘Stnolehy alo uss Wo inlet” in Tonys sere, heh aude he characte semoerl epee The fan pt of epatenng ony any den ame" perenne trough se” The Stan Sees pm pene ane ti ‘reer th srs needy snd prone on tage eon ‘Fact (Fatt) r ‘Atri cis Alas that elroy det, Buby the py ‘rrahtn the py or byte dor nd Seige nthe pron, “Fear area ope 9 rpon by he tr wks st dp petooance sun for “Baka fea eke ‘its, teen, as he foundation for mbsasng 3 rl “acs” Serves sential ces othe ply'sacton, and hence o perfomance In ir Actor Wels ah als Solvay reminds hs readers a, "Nic nan of sl iremporan value mses he scr's tof ito evoke ‘the ef the human epint™ [Soe “Given Gramtancer| ‘To Fee Tosense Chursroet) "This Rian ver as many sargs “Uo Snse (a in sensory Pe eptan tel emotion” “to undertand” "to become aware of” Se Strdavy unc the word and it detieatives cones 6 Invoke this matipisty nthe alm of fing he System's actor ‘wars of al levls~ physical emotional and ileal = tone ‘When Snilvaky wits to Hit is discussion of fings” that ‘ofthe physical he uses “eneation” (xkcatcho) See "Adee Corin” “Aietve Merory” “Feeling” "Sense Memory Feeling Chusico) ‘One af the thre inti of psychi ie and ofthe creative proces ‘The word rer ually fo exhtonl feeling snd phil seston {See "Mind" “Wil” "To oa To Sense" "Paycotecigue"] ven Cheumstancs Prarie sto) “ll the conditions, detaled by the playwright and implicit in {he pays soc nd Ristori lig, which determine character {chaviour Stanlavsky also includes thse eicumstanecs Set Up forthe actor by diets and designers during producion In (Ne 1a essey, “On NationalPopula’ Drama,” Aloander Pushkin ‘wrt "Authenityof the assis, Yer of eins nthe propose (prejlaguons)Ccumatances, hati what ur tlt ‘squc of dramatic athe” Stnsiveky aap hepa oie ‘onde by changing what proposed” by the pay wlght fo whats Sppoen tothe acter [Se Fat] Hatin [Soe "Aecve Memory" Haman Beng/ Astor (Clete) Every ators bolt an art and a unique human being: According to Strnavky, acto sways tse he fols with the wn nh ‘ali bean they wets bodkey, mind nd spss re Sve castes” Every air who pla Hast dies from ‘rey othr Hare by vie of hs very bing. To deseabe isthe Sucal phenomenon, Sanisaveky comm the Rybrid term, “human ‘ang/ ctor” tn Actor Hrs on Hina, Prt he wes, “Thee= ‘Bo walling aay from youre on sagel [Se “Acor/ Bole Tamils "The aco’ sense of ing fly present in the dranate moment ‘term tat fuori te Sytem as a synonym for “experiencing” fd suggests Sanilaeky> interest in the spray of Yous Contemporary Rani docs not use a present tense fro forthewet tobe” Hence, “lam an actor” eal transact neni fom Obd Church Slaven tnguage invented and ted for targa perpose in medio! Ruei Hence, Staniatsky+ oft carres impli spt overtores See "Expeencng 1 Indicating ‘Common in American vsige When a ctor meray prtends to take ‘scion, but don not ataly do so hen he present se without ‘ooking or when she hears thou! tein the actor sd Be indian” (Se “Clb” “In General Posturing”] In General Voice) ‘When acre employ vague genralize action wit ide adaptation tothe specie ceumatanes of the sree le merely ong 2 doe, Father than closing a bevy wooden door Pause thee 2 daft in {he room), Slanslvaky says tat they act “in genera” [See "Adapation” “incting Inspiration Vaenovent) ‘Stnsesky ses inspation” as force rom without asa gilt “sent ‘fom Apall” hence, t something over whch ators hve no conta. ‘Shnisavky therefore rots thi Conep fr his Syter ad teaches ‘torso ook for hl rls within heals (Seu “Sebconsios"] Imagination (Varese) "The actor's capo to teat Actnalehcunstanes af they were ea to vale the deta ofthe character ie peal ap con ‘Geely, to daydream or fans about the evens ofthe play For Stanlavky taining he actors imagination of ts portance [See "Atos Cognition” "Vinstnatone) lnnprovisetin Unproti (See “Ende Inner Monologse (Vater ot) “A torm coined by Viainur Nepurvich-Danchenko to describe the hspokan words that go though «character's mind during the our ofa ply: The ators ofthe Monsow Art Theatr rt heir ‘arate ner monologues cael order (0-8 west them ‘eth concentration see “Sten | Intention ‘Used by Bla Kazan and generally in American actor taining to ‘enti what character wats a ahieve in acne or lay mot Satin” The concept is akin to Sanislvskys den of "wening” (thorn) take action, But the term sult may dete frm it Phrase the ines of intent Una semi) which describes the Unbroensuccosio of “abgets af tenon” memories, fants, ‘nd "viuallaationy ha ep an actor reste 3 character during pe formance, (Se “Concentzation” “Wi Juscation a he Tex (Opals tet) ‘Stanslavaty expects cor fo create the eon, logs and Purpose behind al ations imp nthe pay. Uf of he Human Body inthe Role Zio chelchetgo eam). The “outer ons and physi spect of perormance Inthe fmbodiment opis) Gs character the ator cent he “Ue fF the human Boyt the oe” by manning he loge and cosee- ‘tenes of phyla ations. For ample, wring 2 eter one Finke paper and pom eranges the desk, Hunks about wha © ‘yan aly then begs to write The ator must als keepin ind ‘lr’ physical les. For example, wen looking out Ue aud ‘nce asi to sea ship onthe orzon, the actor eds ofevel his or es eyes in accord with physical eal Peng careful nth ok a the back wall ofthe nadRonum [Se Embodiment] fe ofthe Human Spo he Role (ha lowes daa ‘Thaw aspects of erormsnce tha re iner"orni) a well a8 tena, peychologicl spinel and psychic ll potent Sansa: tons of semper he scan das, "soul" Tvoughout is ‘ater Staite rept sates that the estonia slo he fea art consis the cretion ofthe Meo he human spit of {heal end is tena or sgn “afr” Logie or Stanshvsy, al stage action must mak sense tothe actor within the “given crenata” ofthe play the play doesnot appeat logical on the surface ast might noe ina symbolst or abet payor fora harace ho goes inane the actor seeks create a {nner log a “stent Ror Stannasky,lgc slays Dein eth the culation ofthe face of the einer loge then acount fot thes face ee "Acion” “Fer Lane eno ‘Anting that ines the ate torte. Like a hunter who ences ‘Shy prey from under cove, he actor mst geil nace 9 mood that allows for creative work by using such ches asthe "magic 14" sty and costumes tht make the given ceeumetancs” ofthe ‘lay credible, “afectve memory” or Teslctone analogous to ‘expences in the pay a “erative dea” ee. Any at gers the scors imagination or ences the subconscious out of ding eon be comiderad a “ure” See “Afecive Memery” "Creative Tac, Magi) Magic Macs sy) ‘One ofthe techniques Which Inpite the atoe's creative sate. The ‘toc aohe “What would dif found myelin the csumeten™ ‘Theanswer should be an active ver the action forthe scene) For ‘he American Method, Le Stasterg rested th formlion, opt Ing what e ought o Be Evgeny Vabtngow's maton "What would mosvate me, he actor to belavein the wa that tbe character (Soe Ts quesan allows the acer to place the plays cute ance witha penonal ne aed» “ubeitaon” See "aeMethod Phys Actions Met acest aed ‘rehearing wath which Sanh experiment inthe Inspr of hs it by mane o which Be ater Seeop' oe sence of phys ctor for ior her role for cape ik ‘or Wks Hinsl Prt Sins sugges ta he sor ‘rho plas the charac, Sle Gn Pushin’ Waser nd Sti Inarts Mac fs by eho wine pine y four he rn, next by drop in ome prno, sey then by handing The les to isa This method snes ta omar ie ca ‘Bore aly fused an ed or pte ough ron he ial ofthe rate than thro emotes fe “ie {hetoman dy the Ra] Min tim) ‘he of he he nines of pyc Me and he rtve proces ‘he actor's neliget snes he py ether inugh Aen Corton or Acie Anata the fi ep towantcsting cre wotae ee -Acne Anis” Cope? foment To Moment “An American pact deste work in which the ator fully er ong ad within he ete momen of he en ing inthe “brand now See “Daprcing “TA | Mesiatin : ‘term in American usage tha defines what a character wants with inthe gen cumstances othe seo, and tore bly hin the pla. (See Tneon” “ask Wi je ee Tene Phos Aton Se "Method of Phys Aton ‘ena tom) “he indo cing, mow of ound in untrained actors that pre sess empty teresa ches awn thea and soe 3 lige, The Russen word aso sugges mugging’ "mine “pling faces" and “attudssng “Snap conaders te ing ep brow “raftsmarship" Se Chek “ncng') ‘Sans word tom Yog to describe the energy ha gives Me to ‘ein While itmay be trusted ase energy or val ene it usually does ot appr in tanaaed form Pin iui “reat being arsed through the bd Execs ht in bething, called prnsjons, use body funtion to conte the metaphyseal nergy of ie Stnsasky uae the Sacks! ord eueny fet ‘ering and velts to vay of enegy that facia somes ton (Se “Conmunsaton”“Peyehouthangue” Noga) Primary Felings (Peg hut) "Emotions ad sensation that arse the eae momen othe ft ine, Mot etn in eal i re pri For Stray sh Sgt wens an he a on a am y acor paying Roe, who fos pray” ashe ager Thorens te act plng eri my ded ce a fam. {Se “Afecive Memory "To Feo Sense i contest “Sxondary Feng Problem See Ta) Private Moment ‘An exeroe developed by Lee Sasser forthe American Method ‘hat bids upon Stansethysconep ofthe actor's public a fide” nts een the actor pers fot of ote an acon fre personae so private that he Or abe would never wan 0 Be seen ding (See “be Sate’) i reychtechnighe Paiute). ‘Vag te ysl op the emotional and prychic. Sanray feos lnc in Tole Rote GAO) peop {Eos which sate at he min an ody ae a at no. tire an na be epenened vetbout pal meraaon The oye ‘hopbyical ab undees erdae tha Stnslaaky borowed fom ee Sy wt tr no eh et cry psa action thei some ope in fhe pycologsa someting of the ply” The ten payto. teque which ides he work othe Sytem, eet at Be PubleSoltide Pubic oeheto) ‘Wat he actor experiences when aly within a “ce of tation” ‘unt of nimcy a on crn oer n jects sly within tec, especie of the pence of aud tence See “Concerto “Pivate Moment) ays Gack Tarumimion and Rewepton of fee “Communication” Some Relaxation (mole mas) "Te cme of exenve ssl tron. The System teaches the corto recognize tesion tary par ofthe Bly sp to sae the tinny muscular contactionsajured to peiorn ay phys ton’ Snceunnecosary tnnon impedes catve prota last ‘ton provides the neesry foundon for good sting Hatha ‘fogs. which ince exerbes tm relation Elance, ad bly oes inloeced Stasi's understanding of the body in pe Ermance [See Yogl Representation Pree) "Profesional acting in wich the actor cats & mental mage of Characer doing cher and then coacosly presents tat Image othe audience by eepoducng tal in heightened se Init aol of sting experiencing” ces ont Phen the petrmance ws technical vty Sania employsthe term representation” to net that sch of acting advocated by Caguelin the Eker 1841-909), who wrote in The At ofthe dato, TAT. not Hentai, but representation” Cguelin likens the actor tothe portrait painter eho sepresents the mage of the model on canvas. Whe the Ruslan ord haw many nuances (presentation, “petiormance", "enactment", 2 "show, even & notion” or an "ide? "wepresentation” best invokes the historical bate om ‘acting. that Sanislavsky joined, See in contast Experiencing’) Reversal Points (Perotnge taht) ‘A term in Active Analysis that deserts those ples inthe play ‘where a character changes hs o her action a a result of confit Reversal pons are produced when action mets counteraction ee "Counter Action") Score of Actions See “Action"I Secondary Fong (Poor cuss) Literally “repeated” elngs, secondary emotions and sensations are -ecllece rte than expensed for the st ne For tanislosh, sch feelings prove useful onstage, because they can be ares for the benefit ofthe role and conta in performance See "Affective Memory” “To Fel/To Sensei cantar "Primary Felinge Sence Memory ‘The ail to recall sights, sounds, tastes, touches, and sls, or Staislasky, eal ofthe physical senses pone aspect of affective ‘memory. (Note thatthe Restan word for “eding’ embraces both the physical and the emotional) Inthe United States, sense memory generally serves a6 the foundation for emotional recall, At the ‘American Laboratory Theatre, Richard Bolelasky and. Mars ‘Ouspenstaya called sense memory, "Analy Memory (See "RSfective Memory “eeings) Sense of Set (Samechuosto¥) “The tat of mind and body necessary forthe ator to create perion= mance In An Air Wors on Hilf Part I Stanslavay wre that sense of sel combines two conscious perspectives: bang on sage ‘nd being within the role He does nt mean hat the ator fs sl scious. Rater, the sense of self "proper to the sage” sen fst, "inner (oafremen ints cncenizan, “oes theacior’sphytal presence, and “resi” (ures See TAT Sense ofTrath and Bele (Cust patter) ‘A actors cat they foster Bele in the ef the play through their ‘civ imagination, and take action af he dramati cruretances were true. nhs notebooks, Sanslavsky caution that theste fs not rel ite and that what & "rue" onstage ls whatever we believe tobe true (See "Magic I souk ae ‘Rudden wrenching experience in whch the aco’ preps Sem suddenly nent 4 ange of turesound of petepce In thar. st may eur when the actor deny Sr the wok Tiugh the characte yes Tis word was popular among Russian {vant area he Forma of the Bastar the way iShares air ngs appear be sen sr he Bt tantra pase om Sanlavahys Sytem, Song and bance Sdreerone develope hy Lew Stabe fr the American Method 3 gr ail to acre memory, ited to. provoke emotoal teponse The acorns, wile the tacher cle ot changes Ia pine and volume, a wel ae nation foe psa movements {te dance sxampany thes. saul fee "ie the Han Spot he Roe Spine se “Trough Aco Shy Gata TA indent, Nore, and eve, whether ven on age o ot tro which the aon of play cael The ary may noe Ich that he playwright asf put it the pay such a a Athen’ bigrpbics acts fat fake place offatage or at 9 roe time erin contemporary fm, “seatry” ests this con {Spt In Rann oul the “sory of 9 work an nl {Shahi ois “plot Gah, which deve te acl ndcon fee aranget of the strys semen In Acie Aly, ‘Sonelavay satus the "hin of evens" tit takes lace on Sage for “plot” [See “Even sanconecous Poiana) ‘One rain ofthe unconscious: an apes f mental ie within ba fuente he india coneconenee, Saniora eneaans {Renn as ated tothe cstv process One stated oa of {be Satomi to some the subeocudthrogh conacous ee Suidnvay resto the “oe the subst” 10 give * force of sn and power fe “Lue” “Unconaus” Sp ‘onc sabe Pais) “Tat which ips characters to peak: he inner of character 2 ply “Suber my be ila by Kenting gap inthe tet Ek"hs pre, ambigues in ngage, cosets Between what pen aj and dow ce superonecons Seca) Tighe cecocan’ For Sanaa, tat reel ofthe uncon ‘eos hat tanscands ibe nivisalsclpeience and une te one ‘hth the mang the spn! am. He ake he tr fom Yoga,Where it describes the state reached though meditation, [See "Unconscious," “Subconscious” "Yom Soperbjective [See “Task'] Task/Problem (aia) “The Russian word may be translated in two ways: Sanisavsky perks of fling the "tsk" demanded by the given rcumetance ofthe pla trough action.) He aso writs thatthe actor resales ‘he “problem” pore by the cumstances by means of aton Inthe Inter ease, he compares the ator to a stent who solves an “ithe tmetc problem.” noth trarlaions, the term relates "given creu- Stances" wo vachon:" Hapgood. tranites it ar "objctive” Sanslavsky extends his concept into broader contexts. The ‘moment io moment problems wth the actor confronts throughout {he ply are une by and subordwed t a lagerprolem, the "sperask” (Getkadaea, ansated as) "superbjetive Hapgood). The supers i ur, suggests an overriding action that Links together aeons throughout the pay the "though acson” The Supersupertask’ sveisterthalac) represent he Roe en ewer Se “Acton,” “Given Creunstarces] “Technique See "Device ‘Through Action Skene dest) ‘Alb "trough ine of acon A unifying, overall action that rats all'momenttmmoment actions throughout the play to each ether: Each characte also has 8 "rough ation” that inks al hi or her various scons thoughout the play. “Throsgh action” helps keep the actor focused. during peeformance. In the United States, the Group Theaue used the term “spine” for this concept (eg “the spine of the ply” and “the spine of the character", drawing upon Sanilovaky’s metaphor that compares the structure of «play toa skeleton” [See "Acton “Even? ) Unconscious (esszte et) “That which in mental fe i not avaiable to the concious min For Stanislas, this vast realm of beings divided ito fe the subconscious” that ies. within each person) and the “wuper conscious” Uthat transcends the individual). (See “Subconscious” “Superconscious") Verbal Acton (Slee dt) ‘Stanisiesky points ot that in ife we spenk in order to acomplsh something through communication: hence, words ate ncn On ‘Stage, the actor erates functionality forthe fed Langage of he ay The dramatists words thus become part of the action fn the ‘lay. and like all aio, they must be “ape to the creamatancs, Frog” in terms of subtext, and flow a “consecutive” Hne of thought om Beginning to end See “Action” “Sabie iuzton (io) ‘Ano ede mage Vision ae igs in he d'etat ‘Serpe the scr: inagiaton Sansavby at aban, Masa Gite emia co at they ust nay see metal naps oo they speak, Sanisanky’s ose of “vsuaion” may ste om beth Rap orn and Cian {© AD 35-AD 98) the canal ‘tora who dcsss the power fio Celt image” Latin) ins scription ofthe cratr' are, Strsineky ogg tt te Sor devsop 9 *fimsrp™ (eo) of image accompany te Ferfomance of every role He train “ier won” ute Fe trough cee on imagination and” "median fee agian” ops") wut aun ‘Ore ofthe te iniatrs of peychi Me and creative process ‘ling or more precy “wanting” (ote, to sie the chase {ers problem” fl task” aah) in the ene popes te Sor ard aking acon” eta) er Mind “Feng woe Spurn dcpines in Eater ego of Hindus and Buds, ot are diced foward higher eoracouopos upecnssou) Sw diipines thot most inenced Stina are Hatha Yoga ant fa oye The ist cams nd es the ty y mean of Phys work on postres and flan x end con ofthe Erath (ramon) Rae royal) Yoga srr om mental conta ‘Srough coceaton Channa visual eben sd ede {on [ee “Canetti,” “Viulaaton” “Prana “Relation” ‘Sepeconsanur)