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
intonation to convey shades of feeling:
caressing, malicious, ironical, a touch of
scorn, respect, etc. Another method of
emphasis is to change the tempo and
rhythm – Building a Character
ACTOR AS…
Master of his art – power and technique
to convey feelings, passions to transmit
hopes and tribulations of man. Actor
grows as long as he works.
True artist – experience culture, study
thoroughly, explore variety of life, be an
idealised human being reaching their
epoch reflecting spiritual cravings of
contemporaries.
In role – line of physical actions and
unbroken line of emotions verging on
sub-conscious.
In films – technical expertise and
understanding of proximal conventions
required. Rehearse death and birth.
In the theatre – master of their own
inspiration, call it up at hour announced.
Their own feelings – vicarious transition.
Externalise the internal.
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
signalized by some ordinary, small, natural movement. No physical
actions are divorced from some desire in inner creative state.
2. Actions create the physical life of a role – two natures: physical and
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
ADAPTATION AMATEUR ATTITUDE
Process of adjustment and its The worst enemy of progress is
quality: vividness, colourfulness, prejudice. Art requires
boldness, delicacy, shadings, virtuosity, practice, technique,
exquisiteness, taste. Two types: talent. Amateurs reject
selection and execution of technique out of laziness rather
adjustment. Sub-conscious strikes than convictions.
in moments of inspiration.
ANALYSIS
Purpose: to search out creative stimuli and emotional soul of the part –
sensations, experiences, links, spirituality. Not solely intellectual – it is the
ability to feel a story. As you are drawn to physical actions, you are drawn
away from life of subconscious. Action of nature and its subconscious is
subtle and profound. Naturally induced self-analysis not a forced cerebral
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

BEAUTY
Truth on stage is not a small external truth which
leads to naturalism – it is what you sincerely believe
in. Untruth to the actor must become truth in the
soul of the character, enough to suspend the
disbelief of the spectator. The secret of art is that is
converts a fiction into a beautiful artistic truth. If
the narrative’s reality is doubted by the actor or
spectator, truth vanishes along with emotion and
art. They are replaced by pretence, falseness,
imitation, routine acting. Nature and truth are
indivisible. Natural beauty is the true friend of our
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
must know how to look at and see beauty. One must
learn how to carry beauty over from life and nature
on to the stage… without crushing or mangling it. –
Collected Works, Vol. VI
1. Concentration – creativeness is concentration of the actor. Attention on
stage and stage alone = point of attention – not auditorium. Actor trains
self to have circle of attention – PUBLIC SOLITUDE.
2. Concentrated sensory attention – grasping an object to become a
creative apparatus. Imagined circumstances heighten emotional
connection to it. Objects are given new meaning in context of narrative.
3. Imaginary objects of attention – five senses in imagination – abstract
process. Imagined objects require disciplined power of attention.
4. Physical attention – muscle response as signs to attentiveness.
5. Concentrated attention and creative material – emotion of attention.
When the inner world of someone becomes clear to you through his acts,
thoughts, impulses – follow actions closely and study conditions in which
he finds himself. How to stimulate the sub-conscious self.
AUDIENCE
As soon as the actor stops being concerned with his audience, the more it
allows the audience to suspend their disbelief and immerse themselves
within the character. – the point is not in the power of the effect but in its
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,
another method of movement. We
must borrow only the amazing capacity
for work and the knowledge of how to
train the body from the artists of the
ballet. – My Life in Art.
CARPING CRITICISM
A nagging critic can drive an actor mad
C
and reduce him to a state of
helplessness. Search for falseness only so
far as it helps you find the truth. A critic
can sabotage an actor’s process and turn
a truth into a falsehood. A calm, wise and
understand critic is the artist’s best
friend. He will not nag you over trifles,
but will have his eye on the substance of
your work. – An Actor Prepares
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
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
a character with those physical insignias, can this choice be
purposeful. A healthy body is more capable of extraordinary control.
Physicality is not the priority. Artistic pursuits are – sculpting the body
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
CHARACTERISATION AND TRANSFORMATION
He must find his distinctive, individual voice in every role that is authentic
to the character s/he plays. Outer characterisation follows inner
preparation – using one’s own experiences, intuition, self-observation,
study from books and paintings (in short, from every possible source) an
actor can prepare for this transformation without losing their own
identity. Avoid monotony by being versatile and adaptable in
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
CLARITY
Actions must be clear like the notes on an
instrument. Otherwise the pattern of
movement in a role is messy. Delicate
feelings require precision, clarity and
plastic quality in physical expression,
continuity, resolution – hallmarks of good
technique/genuine talent. Every moment
of a gifted artist is clear and fully felt – An
Actor Prepares/ Building a Character
COLLECTIVE CREATIVENESS
Every theatre worker serve the
fundamental aim of the art. They are all
participants in the production. Anyone
obstructing the common effort is an
undesirable member of the community:
inhospitable greeting, ruining good
humour – striking a blow against the goal
of the art. Cast, playwright and composer
all do their share to create the necessary
atmosphere on their side of the
footlights. The importance for this
interruption-free continuity is also felt
during rehearsal. Artists operate
successfully only under certain necessary
conditions. A bad rehearsal prevents an
actor from conveying thoughts of the
playwright. If order prevails, work is laid
out, teamwork is pleasant and fruitful,
our art is a collective enterprise with
interdependence – talent thrives with
mutual friendship.
CLICHÉ ACTING
Picturesque efforts that pretend to portray all sorts of feelings through external means:
reciting the role, declamatory vocal embellishments, expressing passions by showing
teeth, jealousy by tearing your hair, imitating, stereotypes of rich and poor (spitting and
lorgnettes respectively). Established clichés can be passed down through generations. An
actor must protect themselves from these devices and is true of gifted actors capable of
true creativeness. The mistake of most actors is that they do not think about the action
itself but the results. Feelings are the result of something that has gone before. As for the
result, it will produce itself. The public character of his creative activity, an actor attempts
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.
COMMUNION
1. Communication with the Public Through Your Partner – maintain an uninterrupted
exchange of feelings in order to hold the audience. Spectator seeks inner soul of
character. Co-acting dynamics require attention, technique and discipline.
2. Giving out and Receiving Rays – invisible currents of energy – lets call them rays.
Absorbing these rays in an inverse process. In highly emotional states, these rays (given
and received) become definite and tangible.
3. Grasp – a long and coherent chain of feelings can become powerful enough to grasp.
Seize with our eyes, ears and all senses without unnecessary muscular tension.
CONTACT WITH THE CONVENTION
Theatricality is a convention – scenic
AUDIENCE effectiveness in its best sense. Actors’
Actors must obliquely maintain direct performances should be scenic. That life
contact with the audience rather than must be convincing – cannot stem from
explicitly. There is a dynamic with partner palpable falseness. Production may be
and spectator that balances the direct realistic, stylized, modernistic,
and indirect. The spectator is a witness naturalistic, impressionistic, futuristic in
primarily and partner participant. An order to represent true life of human
audience can influence its dynamic. spirit.
COPYING
The more gifted a director’s
demonstrations and deeper impression it
makes, the greater it enslaves the actors.
S/he will never be able to divert from the
impression they have received – then
compelled to awkwardly imitate the
model. This shears an actor from creative
freedom and their own opinion about the
role. Let every actor produce what they
can within their creative powers.
CREATING THE INNER LIFE
OF A ROLE
The fundamental aim of art is the
creation of the life of a human spirit and
its expression in artistic form. This is why
we think about the inner side of a role
and how to create its spiritual life
through the internal process of living a
part. When an actor flows organically in
their role, deeper subconscious sources
gently open. This is nature at work.
COSTUMES AND
ACCESSORIES
Costume can convert an outer through its
outer mantle. It is an important
psychological moment, and you can tell a
true artist by his attitudes towards his
costume and properties. An actor must
know how to put on and wear a costume:
customs, manners, ways of greeting
people, use of props in order to feel the
part - Collected Works Vol. III
CREATIVE INTENT OF A PLAY
Actors and directors should strive to have
a profound understanding and grasp of
the playwright’s creative intent and not
to replace it with any of their own. Actors
are in the habit of putting attention only
on the roles assigned – mistake. Very
important that you sense the production
as a whole and its entire intent. The part
will become clear in the context.
COUNTERACTION
Every action meets with a reaction,
therefore, intensifying the first. The
counteraction is a clash of purposes and
all the problems to be solved grow out
of them. They cause activity which is the
basis of art.
CREATIVE WILL
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
will and tenacity to do work which will
enable them to achieve true art. An
objective is live bait pursued by our
creative will – tasty, with substance and
power to charm. This attracts our
attention. Ineffectual until catalyst of
passionate desire is involved. Inspiration
for it lies in a fascinating objective. This is
a powerful driving force, a strong magnet
for our creative will – My Life in Art

CRITICS
When I asked a journalist how they produced
remarkable critics – anyone could blame, but it took a
specialist to praise. The art of a critic requires
exceptional talent, emotion memory, knowledge and
personal qualities. A critic must be a poet and artist in
order to judge – playwright and actor. A critic must be
impartial so s/he can inspire confidence in their
opinion.
CROWD SCENES
Crowd scenes are extraordinarily fatiguing both to directors and actors.
Desirable that rehearsals should be productive – discipline must be enforced
with well-drilled preparation. Crowd scenes require intense discipline. No
one may be late or absent, fail to make notes of director’s instructions etc. If
ordered with distributed workloads, the collective effort will be pleasant,
productive and based on mutual help. You are all producing together and are
mutually dependant. Sometimes we turn to individuals in a crowd for varied
shot types – group quality excites temperament of scene.
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.

EMOTION MEMORY
The type of memory which makes you relive
sensations once felt – emotion memory. Visual
memory can reconstruct inner image of forgotten
thing, place or person – emotion memory brings
back previously experienced feelings. May seem
beyond recall, but triggers, suggestions, thoughts
and familiar objects can bring them back full
force. Recall can recontextualise the previous
emotion memory. Director made distinction
between sensation memory (five senses) and
emotion memory. Sight is most receptive
impression. Hearing is sensitive. Smell, taste,
touch are sometimes important – auxiliary to
emotion memory. Time is filter for remembered
feelings – purifies, transmutes into something
poetic. The broader your emotion memory, the
richer your material for inner creativeness –
vivid, powerful, deep, stimulating.
EMPATHY AND FEELING ENSEMBLE
Mutual responsibility is required when
The emotions of a reader or hearer
on set dynamics with multiple
differ in quality from those of an
characters is in play. Collective creative
onlooker or principal. Principal feels,
effort is the root of this kind of art. If
witness shares sympathy, but
you mar the ensemble, you commit a
sympathy can induce a direct
crime. Super-objective and through
reaction. Actor vicariously lives
line of action is a common goal where
through character. Witness becomes
proper understanding of the play’s
principal in process- empathy is
components is needed from all.
required for authenticity.
EXHIBITIONISM
ETHICS IN THE THEATRE There are actors in love with
Actor needs order, discipline, a code
themselves who show themselves.
of ethics for his/her artistic purposes. They use their lines as a vehicle to
Public eye = best aspects, receiving
exhibit vocal attributes, diction,
ovations, accepting praise, glowing manner of recitation, self-technique.
reviews = vanity. Don’t be debauched
Self-admiration and exhibitionism
by the pedestal. Love art in yourself destroy the power of charm. Actor
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
Facial expressions are brought about
of their own accord naturally as a
result of intuition, inner feelings.
Their effectiveness can improve
through exercise, development of
flexibility of facial muscles. One must
be familiar with the muscular
anatomy of the face. Conscious
control of all groups of muscles and
the capacity to sense energy flowing
along them – to form expressiveness
and gestures.
FAITH
Actor must believe in what is
happening around them and what
they’re doing. From actuality to the
imagined life, he must believe in order
to create. Truth on the stage is
whatever we can believe in with
sincerity. Truth cannot be separated
from belief, nor belief from truth. It is
impossible to live your part without
both. Believe in what you say on stage
and you will be convincing.
FANTASY
Imagination creates things that can
happen while fantasy invents things
that are not in existence, which
never have been or will be. Fantasy
and imagination are indispensable.
Realm of the non-existent is only
hinted at so far. Acting gives the
opportunity to draw what is
fantastic closer to what is real: logic
and continuity. They help make the
impossible probable.

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
more accessible and
intelligible he becomes. A
genius must be simple,
that is one of his greatest
merits.
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,
action. Let every actor above all hold his gestures in production, sets, costumes,
check to the extent that he controls them and not properties, lighting, sound effects – all
they him. On the stage, we reject any unmotivated circumstances are the starting point of
gesture and accept only action and movement. – development – An Actor Prepares
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
Habit is a two-edged sword – harmful
when badly used and great value
when applied correctly. Essential to
establish right creative habits. Step by
step required to establish trained
habits that are incorporated into the
psyche as second nature. The difficult
should become habitual, the
habitual, easy and the easy, beautiful.
HERE AND NOW
The “I am”. An actor should feel it. I
exist here and now as part of the life
of the play, on the stage. Find
yourself in the role – let them decide
sincerely how to answer this
question: what would I do here and
now, if in real life I had to act under
circumstances analogous to those in
which my part is set?
HIGH-TENSION ACTING
Different actors have different
conceptions of effect through speech.
Some try to find it in physical tension.
They clench their fists, heave, shake
from head to foot all for the sake of
impressing. Under that method, the
voice is pressed out in a horizontal line.
It does not produce volume: leads only
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”
Put yourself in the centre of
imaginary circumstances. Existing in
the heart of it, on the point of going
into action on my own responsibility.
As a participant you can’t see
yourself, only what’s around you. You
react with your inner nature as in
true life. You sense the play’s truth
subconsciously. Your faith and “I am”
follows.
IDEAL ARTIST
Devoted to a single, large purpose in life:
to elevate and entertain public with a
high form of art, expounding hidden,
spiritual beauties in the writings of
poetic geniuses. A whole life consecrated
to this high cultural mission. Another
type of artist may use his personal
success to convey own ideas and
feelings: a supreme-objective.
IMAGINARY OBJECTS
What should I do if a ghost
appeared before me? Be in
communion with the imaginary
suspending yours and the
audience’s disbelief with a
convincing expression of your inner
relation to it rather than a mass of
effort that will come across as cliché
acting.

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

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

LIVING IMAGE LOGIC AND CONTINUITY

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

MECHANICAL ACTING MEMORY

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

MIRROR
You must be very carful in the use of
a mirror. It teaches an actor watch
the outside rather than the inside of
a soul, both in himself and in his part.
MISE-EN-SCENE
The responsibility for creating this ensemble for its artistic integrity, the
expressiveness of the overall performance lies with the director. The whole plan
of the production involves every element of the narrative canvas. The creative
work of the director must proceed in unison with that of the actors and not out-
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
Precious asset for an actor – cannot
be fabricated or the result is
affectation. Every actor is to some
degree naïve. Most mask this quality
in life out of embarrassment. Carping
criticism interferes with it. One
cannot be over meticulous and
analytical when using one’s
imagination. Faith and sense of truth
are pivotal.
NATURALISM
Those who that that we sought naturalism
on the stage are mistaken. We sought inner
truth and the truth of feeling and
experience – the soul. We had not reached
the stage where we could interpret the
spiritual side; we exaggerated the external
side. This remained without inner
justification – for lifeless objects, properties
and sounds. Resulted in naked naturalism.
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
Life, people, circumstances constantly put up barriers. Each
barrier presents us with the objective of getting through it.
Each structured play has one purpose – the creative
objective. Every objective requires action, aspiration,
purpose. Objectives should be achievable – physical,
psychological – usually bound together. Slightly favour the
physical to help crate the right psychological state. Make
sure objectives are active and not stagnant and mechanical
(leading to cliché acting).
OBSERVATIONS
An actor should be observant in real life as well as on
stage. The powers of observation are intuitive to
performance. How do we observe a facial expression,
the look of the eye, the tone of the voice in order to
evaluate someone’s state of mind? If they could do this,
their creative work would be immeasurably richer, finer
and deeper. This requires work, time, desire to succeed
and systematic practice. Nature should be a source of
observation.
P
PAUSES IN SPEECH
The logical pause mechanically
shapes the measures, whole phrases
of the text and thereby contributes to
intelligibility. The psychological pause
adds life to thoughts. It is an eloquent
silence. It helps to convey the
subtextual content of the words.
Pauses also allows for a quick intake
of breath.
PERFORMANCE PERFORMING “IN
It is only when it is performed on
stage that a play is revealed in all its
GENERAL”
‘In general’ is the bane of the theatre.
fullness and essence. Actors aim to
Portraying feeling in general without
remain true to the subtext and
relation to the why or backstory
through line of action. Spontaneity
complete with circumstances is ‘ham’
and the unexpected are both stimuli
acting. Don’t arouse feeling for its
to creativity. Performance must also
own sake – all feelings must result
consider tempo-rhythm, tone and
from its context. For true art, ‘in
tension and the super-objective.
general’ is incompatible.

PERSPECTIVE IN CHARACTER BUILDING PLASTICITY OF MOTION

Perspective means: the calculated, harmonious inter-
relationship and distribution of parts in a whole play or
role. Acting needs perspective. Against depth of
background he plays out whole actions, and speaks
whole thoughts. After perspective, we are obliged to
adhere to qualities of consecutiveness, tone and
harmony. As a part moves along we have two
perspectives – the character portrayed and the actor
themselves. Keep in perspective – breadth, sweep,
momentum to inner experience and external actions.
PLAYWRIGHT DOMINATES
A theatre where the most powerful personality is the
playwright. Interesting elements are: general concepts of
an approach to a play, treatment of ideas, style,
characters, psychology etc. In every pose, intonation,
gesture of an actor – an idea is concealed with some
generalization, allegory, knowledge etc. The playwright’s
work is revealed by the director – others submit to the
creative initiative – all attempt to convey the intent of
the production with all the skill they can muster.
The more subtle the emotions, the greater the clarity,
precision and plasticity needed to convey them in physical
form. Among dramatic actors, some use plasticity for the
sole purpose of impressing admirers of the opposite sex.
Lend an attentive ear to your own mechanics, and sense
energy rising from the deepest wells of your being. Energy,
heated by emotion, charged with will, directed by intellect
manifests itself in action, full of feeling, content and
purpose. Art originates when unbroken line is established.
Plasticity of body movement creates narrative fluency and
inner flow.
PLOT
There are plays where external plot is the mainspring of
action. The best thing is when form or content are in
harmony – in such plays it is not the facts but the
relationship of the characters that constitutes the centre of
interest. There, the life of the human spirit is inseparable
from the facts of the plot. Let the actor learn the facts, their
sequence and their external physical connection with one
another. It helps to get to the inner substance,
interrelationships and interdependence through plot.
 PRE-PERFORMANCE PREPARATION
Most actors put on costumes and make-up to get into character but
they forget the inner preparation. Why don’t they put make-up and
costume on their souls? The actor should arrive two hours ahead of
their entrance and begin to get themselves in form. A sculptor
kneads their clay before they begin to use it. Exercise with great
care – go over the fundamental parts of your role. All these
preparatory exercise test your expressive apparatus and will tune
your inner creative instrument.
PSYCHO-TECHNIQUE
In the soul of a human being there are certain elements – subject
to consciousness and will. They are capable of acting on psychic
processes to rouse your subconscious to creative work (a special
technique). Feel your way into role – eyes of the soul are opened
– acute awareness – conscious of feelings, conceptions, visions,
attitudes both in role and the self. No technical means to gain
control of subconscious. Can only teach the indirect method to
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
have the sensation of being
entirely alone., Called public
solitude. Enclose yourself in this
circle like a snail in its shell. You
can carry it wherever you go.
REHEARSAL
An actor practices the creative mood –
performing, rehearsing, working at home.
Actor is obligated to produce their part in full,
RELAXATION OF
give the right responses to the partner and MUSCLES
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
REALISM
Among theatre leaders, actors,
spectators, critics, there are many that
prefer theatricality to artificiality. As a
result, they can aspire to achieve anti-
realistic forms. Others prefer natural
truthfulness: realism. They search for the
catharsis of souls through powerful
impressions. One can indulge in
naturalism. Truth on stage must be real
but rendered poetic through creativity.
Impressionism are accepted only in so far
as they represent realism in a refine,
ennobled, distilled rom.
attitude and execution is given, a splendid
atmosphere is established. Many actors don’t
take creative initiative. Some are led by the
path of action rather than leading it. This
passivity is dangerous to acting dynamics.
Only directors know how much work,
inventiveness, patience, nervous strength and
time it takes to push such actors of weak,
creative impulse from their dead centre. It is
profiting through the creative work of others.
Each actor must bring to rehearsal their own
living emotions. Actors are not puppets.
When you reach the stage of virtuosity in
your psycho-technique, rehearsals go easily,
quickly and according to plan.
Therefore at times of great
stress it is especially necessary
to achieve a complete freedom
of muscles. Until this control
becomes a habit, give a lot of
through to it. Later, this relaxing
of the muscles should become a
normal phenomenon. This
removal of unnecessary
tenseness should be developed
into a natural necessity, not
only during the quieter parts of
your role, but especially at
times of the greatest nervous
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
Let us suppose that the scene designer is
paramount in a theatre. The underlying
essence of the play will be sensed more
vividly in colours, sets, painting-like
compositions of group scenes. Some
theatres founded on the tyranny of the
scene designer. People fall prey to the
external enchantment of the scene designer.
PROPERTIES
All the externals of a production are
of value only in so far as they
enhance the expressiveness of the
dramatic action. It is of no matter
whether the scenery is conventional,
stylized or realistic as long as it is
appropriate. The important thing is
that the sets are convincing to the
audience and actors.
score is to portray human passions –
rich, colourful, varied. An actor must
know the nature of a passion – how
to cull the component units,
objectives, moments that add up in
their sum total to human passion.
The score saturates every particle of
the actor’s inner being. All remaining
objectives converge into a super-
objective and its attainment.
 SELF-CRITICISM
Fear your admirers! Learn to
understand the cruel truth about
yourselves. Talk about your art only
with those that can tell you the truth.
The majority of actors are afraid of
the truth because it can break in the
actor his faith in himself.
SENSE OF TRUTH ON THE STAGE
Best stimulus to emotion,
imagination and creativeness. No
such thing as actuality on stage. Art is
the product of imagination. Aim of
the actor is to turn the play into a
theatrical reality. Scenic truth is
general background to feelings. Think
of circumstances and conditions.
SINCERITY OF EMOTIONS
Pushkin spoke of ‘sincerity of
emotions and feelings that seem true
in given circumstances. We work over
them supplementing them out of our
own imagination. You will see how
easy it will be for you sincerely to
believe in the possibility of what you
are called upon to do on the stage.

SOLILOQUY
When do we talk to ourselves?
Whenever we are so stirred up we
cannot contain ourselves or wrestling
with an idea that is hard to assimilate,
memorising, impress it on
consciousness, or to relieve feelings.
The nerve and psychic centre of our
being. Brain holding intercourse with
feelings.
SPEECH We need firm foundations for our art, in particular the art of speech and the ability to
speak verse. We realise how ridiculous we are when we have to convey complicated emotions.
Speech is music. Pronunciation on the stage is as difficult as the art of singing. It requires training
and a technique bordering on virtuosity. Give a vivid ornament of sound to the living content of
the words – he causes me to glimpse with an inner vision the images he has fashioned out of his
own creative imagination. Every actor must be in possession of excellent diction and
pronunciation. Not just phrases and words but syllables and letters. Poor speech even conceals the
thought, the plot causing audiences to fidget and cough. This spells ruin for the play. Time for the
use of clear, beautiful, vivid speech. It is not just sound but an evocation of images – your job is to
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.

SPONTANEITY
Spontaneity is the only way to keep
a role fresh, on the move. Lacking
this means the standard and
dynamic nature of your
performance my fade after a few
performances. The unexpected is
often a most effective lever in
creative work.
STIMULI TO EMOTION
MEMORY
Director uses all material means –
set, lighting, sound effects,
accessories to impress public. Actors
create an illusion of real life and its
moods – external stimuli triggers
belief in inner vision. The bond
between the lure and feeling is
natural and should be employed.
SUPER-OBJECTIVE
The essential idea, the core and
impetus of the play. All minor
objectives of the actor converge into
the super-objective: a collection of
goals, thoughts, feelings and actions.
Impetus towards the super-objective
must be continuous throughout the
play. One must surrender
passionately to it with unequivocal
action.
STAGE FRIGHT
The most important is the abnormal circumstance of an
actor’s creative work – muscular tautness interferes with
inner emotional experience. The eyes of the public can
seem like an intimidating radar yet some actors learn to
refocus their attention in a way that helps them conquer
stage fright. The powerlessness to do the impossible
should not fill you with fear – by letting yourself go can
inspire fearlessness. Approval can boil an energy within
you – the footlights and the black hole disappeared from
consciousness and they were free from all fear.
SUBCONSCIOUS
One of the main objectives pursued in our approach to
acting is natural stimulus to creativeness of organic
nature and its subconsciousness. It is fair to say that this
technique bears the same relation to subconscious
creative nature as grammar does to poetry. We see, hear,
understand and think differently before and after we
cross the threshold of the subconscious. Our freedom on
this side is limited by reason and conventions. Beyond it,
our freedom is bold, wilful, active and always moving.
You will learn to strive for unconscious acting state.
SYMBOLISM
Hard nut to crack – successful when it has its source
not in the mind but in the inner soul. Symbol and
grotesque become alike. Play a role hundreds of times
to crystallize its essence and interpret the quintessence
of its contents. The symbol and grotesque synthesise
feelings and life. It is only when inner and outer life of
an actor is developed naturally in accordance with the
laws of nature that the superconscious will emerge
from its secret sources.
STAGE SETTINGS
Surroundings have a great influence
over feelings. When external
production is inwardly tied up with
the spiritual life of the actor it
acquires more significance on the
stage than in real life. If the right
mood is produced it helps the actors
formulate the inner aspect of their
role, influencing the psychic state and
capacity to feel.
SUBTEXT
Subtext is applied by the actor – the
printed play is not a finished piece of
work until it is played on the stage by
actors and brought to life by genuine
human emotions – this
reinterpretation shows the vast powers
of subjective subtext. Their spiritual
inner essence adds subtext to the
piece. Actors can be lazy with digging
down to subtext, some overreach for it.
The danger is mechanical acting
without subtext and depth. Searching
for the inner essence takes work –
elusive, difficult to pin down. Words
are designs of visual images.
Communicate to others what you see
with your inner vision – images created
by imagination. Up to you to convert
images into reality. When subtext and
intellectual content merge – the super-
objective is achievable.
T
TALENT
Not easy to define or dissect – buried deep
and difficult to evoke. Felicitous combination
of creative capacities governed by will.
Technique exists in this with talent and
inspiration. The more talent and actor has
the more they care about their technique.
Inspiration comes by natural means through
repetition of the role. Talent = memory,
imagination, sensitiveness,
impresssionability. Stage charm.
TEMPO-RHYTHM IN MOVEMENT Inner and outer tempo-rhythm
combine in movement. Collective action and speech – extract the tempo-rhythms
out of the chaos. Shape your own independent, individual lines of speeds,
measures of speech, movements, emotional experience, syllables, words, actions
and rhythm. Tempo-rhythm does possess the magic power to affect your inner
mood. It excites your emotion memory and brings your visual memory and its
images to life. Tempo-rhythm nourishes feelings. Tempo-rhythm is created
correctly of its own accord with the right perception to events taking place.
Different tempo-rhythms provoke an internal struggle of contradictory origins. The
tempo-rhythm of the whole play is the tempo-rhythm of the through line of action
and the subtextual content of the play.

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

THROUGH LINE OF ACTION TRADITIONS

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

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
Art must have an unbroken line flowing
from past through present into the
future. Only when an actor has deeper
understanding of their part that this
line gradually emerges as a continuous
whole. If inner line is broken, an actor
no longer understands what is being
said or done and they cease to have
desires or emotions.
UNITS, EPISODES UNTRUTH ON THE
Break up play into small units –
division is temporary – only for
STAGE
A sense of truth contains what is
preparation. This makes rehearsals
untrue as well. It sets the pitch and
and entering the role manageable.
shows you what not to do. A truth
The right name which crystallizes
will grow broader and deeper and
the essence of a unit, discovers its
lead to inspiration. An untruth will
fundamental objective.
lead to forced acting, clichés,
pretentiousness etc.
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
We are obliged to walk correctly as
nature intended. Some walk in
unnatural forms and picturesqueness.
That theatrical, stagey walk is not to be
confused with true stage walk based
on natural laws.
WHAT IS THE SYSTEM?
My system is the result of lifelong searchings. There are no formulas on how to
become a great actor. It is made up of steps towards the true creative state of an
actor on stage. To achieve the normal living state, an actor has to be physically
free, alert, to listen and observe on the stage dynamically, believe in what is
happening. Secondly, a true inner creative state on stage makes it possible for an
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.