Chapter 4: Imagination

The importance of having imagination for an actor because it helps use make up the creative
process. If you feel like you cannot fit a role of a character, having imagination helps with getting
into your character more and being more aware of your surroundings. “Then as an active
participant in this imaginary life you will no longer see yourself, but only what surrounds you,
and to this you will respond inwardly because you are a real part of it” (Stanislavski 3).

Chapter 5: Concentration of Attention

Point of Attention.

Stanislavski says that every night before you go to bed you should go over everything you have
learned and experience both the inner and outer emotions. “In the end we were forced to study
our objects down to the last detail, and describe them” (Stanislavski 89). This helps with
concentration and to be more aware of your surroundings and to bring objects to life.

In order to sharpen their craft in daily life, an actor must look at their surroundings in detail. If
you see an object in real life, give that object emotions and try to imagine them in different
places by exploring the object with all 5 of your senses. By doing this, this will give your inner
attention to the object. “The objects of your ‘inner attention’ are scattered through the whole
range of your 5 senses” (Stanislavski 95).

Chapter 6: Relaxation of Muscles

An actor has to believe in an action’s purpose because everything you on stage has to have a
meaning behind it. If you have movements that have no meaning behind them, it will looked
forced and awkward. “Until this control becomes a mechanical habit, it will be necessary to give
a lot of thought to it, and that will detract from our creative work” (Stanislavski 107).

When doing single gestures, you have to relax your body and every muscle in it. An actor
should not force a move but also should not stand still on stage. By having meaning behind
every movement, it also gives an actor a feeling to the character he or she is playing. “Live
objective and real action naturally and unconsciously put nature to work” (Stanislavski 115).

Chapter 7: Units and Objectives

Stanislavsky’s process for analyzing a play is to divide the play into its elements. DO not break
up the play into such little detail that will will start to confuse you instead of helping you. You
should divide it into what exists in the play and what does not. “Create a channel outlined by
larger divisions” (Stanislavski 126).

Objectives of the play help with what surrounds the core of the play. The objectives should help
with what you are portraying as a character. The objective should revolve around the main
purpose. They should bring life to the play. They should be believable to you and your audience.
They should motivate you and be clear to the actor. “Each objective is an organic part of the unit
or, conversely, it creates the unit which surrounds it” (Stanislavski 127).