Transference notes

-Examples of transference should not MIRROR the exact events of the play but should be
connected with the essence of the character’s experience-by the transferences of
comparable sensory, personal, emotional and psychological experiences.
- Remembrance of a lover like Alan grey? She imagined the agonizing death of her
beloved little poodle-the guilt that she experienced because she was unable to prevent it.
-Isolate emotions rather than finding literal parallels.
-Illogical as it may seem externally, internally it is comparable.

-On occasion it is possible for an actor to feel a strong affinity for certain aspects of a role
and puts his vivid imagination to use
-Identification in this way, without having to make meticulous conscious substitutions is
possible
-I, myself, have made a few initial transferences which have catapulted me into areas of
play and sustained my reality for long stretches.
-However, These times, when the magic of “If I were….” Carried me along without a
violation of the truth of “my” existence, are the exception.
-STOP when you begin to think in terms of “her” instead of “I”
-When I begin to illustrate what she would want to do or illustrate how she ought to feel,
and when I realize that I am laughing about her,
-Actually relating to her as an audience rather than participating in and grappling
personally with the character’s transferences from my life to hers.

Never confuse the enormous difference between participating in the character’s

actions and that of the involvements entailed in the kind of muscular , emotional acting
springing from an observer’s sympathy for the character.

Remember that although the director will always be your guide HE WILL BE
UNFAMILIAR WITH YOUR PERSONAL LIFE EXPERIENCE. MAKING
EVERYTHING TRUE TO YOURSELF REMAINS THE ACTOR’S JOB.

Transferences are homework that must be done and during rehearsal they are “in flux”
until the performance is complete.
-The purpose is twofold:
1-To find identification with all aspects of the character;s past and present, to substantiate
your faith in the time, place, detailed surroundings, and circumstances in which your
character will be living, and to endow the relationships to the other characters with
appropriate realities.
Dispel the notion, permanently, that acting is pretending.

2- The discovery of the character’s behavior, justifying it while alerting you to every
circumstance, to animate and inanimate object that stimulates you to actm to do
something consequential about what you feel and want.
It is, in literal sense, a process of “make believe”, to make you believe in “your”
existence. Then the audience will have been made to believe in it, too.