Magic If - trying to under the character’s situation as the character in their situation with their objectives

if an actor finds the right action it will always generate the same physical action and generate the same reaction in yourself and others

emotional memory, sense memory - remembering something from your own past to imitate the emotion the character is feeling (stanis rejected this later to reject it with psychophysical action) danger of actor feeling too much - wanted to keep the focus on the character, not the actor

OTHER GROUP

post modern

presentational approaches to acting are overall more common in world theatre, non-western theatres

particularly common in the theatre where things are very stablized

understanding that a certain action means a certain thing

represents emotion in an openly artificial or stylized way

no trying to be emotionally truthful to the character

non-realistic plays

technique based more than inspiration based

brecht: overtly political type of theatre

gestus: a way for actors to point at the attitude/reveal motivations transactions behind the characters actions, narrate, may directly explain to the audience

trying to shed light on circumstance but not bring character to life

—-

heretical director: own perspective on a script, theoretical, may change given circumstances, become co-creator to meaning,

worshipful: the text is the bible, unlikely to crossgender/colorblind, 

oteur - radically changing the script/meaning, usually use something out of copyright law,