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ACTIVE ANALYSIS
Of the work, of the paper (role)

By: María Ósipovna Knével

Compilation: Carlos G. Arango O.

GENERAL PRINCIPLES OF ACTIVE ANALYSIS

Initial work guideline on a play (whether a monologue,

dialogue, drama comedy, etc):

DESK WORK
Table period

Analysis of the work around a table, prior to the rehearsals in the

scenario. The performers, with work led by the director,
they subject the work to a meticulous analysis, regarding:
Internal motivations
The subtext
The interrelationships
The characters
The cross-cutting action
The task of the work

With the aim of delving deeply into the written drama; and thus
discover its ideology and artistic objective.

What does the actor do?... To immerse himself in the internal world of the character.

In this process of the 'table work' period, even if it is a

visibly "passive" activity (thinking about a text), the actor must
actively seek from the beginning of the work, a path that leads to
he approached the paper, to his role; this in the company and with the guidance of the director,
so that together they take responsibility for the creation of that path.

It is a long and deep period, during which the director:

Explain
Relates
Seduce

And the actor adapts to the responses that the director (acting as a 'boss')
he/she answers questions related to the work and its role.

The work of the actor as a creative actor:

Of their own interpretation of the work.
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He/She actively participates in the work, according to the

given circumstances.
It is ductile (ductility)
Build an individuality that is one's own ('not passive')

It is about seeking an agreement between the director and the

an actor to create a creative relationship between both. They must reflect.
about the content of the work, about which actor can interpret one or another
another role, likewise see what scenic possibilities they have
provisions (those of the actors).

THE FIRST READING OF THE TEXT IS VERY IMPORTANT:

Some trends appear regarding:
Intonation
The adjustments
The tonal height

The greater the culture of the director and the actors, the deeper it will be.
their knowledge will be broader, their life experiences will be greater, it will be easier for them
it will be helpful to assist each other between the director and actors.

The director significantly helps the actor to do the following:

Study all the internal springs of the action of the work
Define the character of the interpretation of the characters in
conflict
Study and define the inner world of the characters
Identify the supertask (the revelation of the idea of the work)

It is essential for actors, during the work process with the

Know the era

Approaching critical literary research
Identify and differentiate the iconography of the moment in which
the action of the work unfolds.

It is especially important to take into account the impressions of life.

daily; because without a broad and complete understanding of the activity
human care lacks the intellectual training of the members of the
initial creative process (director and actors).

To know life is not just to observe it, it is to immerse oneself in it, it is

demonstrate the ability to transform the known and the lived into
scenic images, close and understandable for our
viewers.
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To be a correct interpreter of the work and the role is required

depth and clarity in the intellectual orientation of the work. To feel the
internal and external processes of paper in all its nuances; do not forget
individuality and develop creative faculties.

Just like in life, in the scene the physical and the psychic are found
indissolubly united. And this union of the physical and the psychic comes
dictated in essence by the very realistic art. Since in the scene is
it is important to show truthfully, accurately, plausibly, how a
determined character, and that is only possible with the complete fusion of
the physical and psychic sensations.

A person's physical life exists in the form of psychic states.

consequence, on stage the actor cannot limit himself only with
abstract thoughts, the same that not a single one can exist
physical action separated from the psychic.

Between a scenic action and the cause that generates it, that motivates it.
there is an indissoluble union; the 'life of the human body' and the 'life of the
human soul" forms a complete unity. This relationship is the
foundation of work with psychotechnology.

Below is an example to clarify the idea about this unit,

on the indissolubility of psychophysical processes:

Sometimes it happens that a person falls silent, but, upon observing how they sit,
walks or stands, we can understand what their feelings are
physical, their mood, their relationship with what happens to their
around. It often happens that when passing by certain
people sitting in a park or in some public place for example,
we can, without hearing a single word, know if they are solving a
work subject, discussing or talking about love… But only for a
We could not determine what the physical behavior could be.
that person is busy. We could say that the person coming towards
we walking quickly on the sidewalk are in a hurry because of
something important, and that other one is looking for someone. But it could
It happens that one of those people approaches us and asks:
Have you not seen a boy with a red cap pass by here?
I was in the store and he got away from me, the little rascal. After that
hear our response: - "No, we haven't seen it go by," keeps on going and
shout aloud: -"Jorgitooo!".

So, after seeing not only the physical behavior of that

person: how they walk, how they look to the sides, but also afterwards
to hear how he addresses us and how he calls: -"Jorgitooo!"
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we perfectly understand what happens in that person, what it is that

occupies his intellect.

This same thing happens to a theater spectator when they see a

dramatic show. Know what the character is occupied with in each
moment of their presence on stage, both due to their physical behavior
as for what it says.

The word that is pronounced by an actor representing a

a character on a stage must reflect the world to the limit
internal character, their desires, and the ideas of that created character.

Let's go back to the example in question: Imagine that the person who is looking for
his son on the street approaches them and asks them that same question about the
that we have talked about, but he does it with a "singing" tone of voice
(melodious and pleasant, as if singing), with solemnity, emphasizing it.
incorrectly. They would think it is a sick person
Mentally, it's simply mocking you.

On stage, in some scenes, cases frequently occur in

that the words of the playwright are pronounced in such a way that they
stop believing in the actor and start thinking that everything that happens
It is not plausible.

Can authentic verisimilitude appear on stage?

What if the physical behavior of the actor is fake?

Going back to the example: Let's imagine that this person who is looking for their
a boy approaches us on the street, stops, and takes a pack out of his pocket
of cigarettes, take one and leaning against the wall of a house, without
efforts, lighting the cigarette he asks us about his son... Again
we would think that something is out of place, that it really isn't
looking for his son, but he needs us for some other reason.

In this way, the internal state of the person (in our case of the
character), their ideas, desires, relationships, must be expressed as well
through the word as through physical behavior.

It follows from the above that it is essential to know how to solve in each
The moment the way the characters are going to behave physically.
in their given circumstances: not only if they are going to walk, sit or
stand still, if not how to walk, sit or remain
pie.

Now let's imagine that we are going to interpret that person who is searching.
his son on the street...
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If we start by pronouncing the text that that person says sitting down.
around the table, it will be difficult for us to pronounce it credibly.
Our body, sitting quietly, will bother us in the search.
the true state in which that person who has lost is found
your son, and without it the parliaments will sound dead, lifeless. No
we can pronounce that phrase just as a person would
in real life.

You actor, seek your son, who has escaped to somewhere

part, while you were in the store. So get up
from the chair and imagine that you are on the street and that those (the
(rehearsal companions) are the passersby. You need to know
of them if they have seen their son. Then act, carry out your
actions, not only with words, but physically.

It will be seen consequently that as soon as it includes its body in the

work (in that activity: asking to find out where the son is),
It will be easy for him to speak in that role, on behalf of the character.

Because of the separation between the actor quietly sitting with a pencil
in the hands and the authentic emotional and bodily sensation of life of the
character that the actor should aspire to from the moment he/she
find for the first time with the paper (role). This is something that the
actors must be required to analyze deeply within the practice
of the essays.

In this sense, directing a play is fundamentally the

conducting an analysis of the psychological life of the character. From the
desk work, the actor sitting, around him, always looks at the
character from the outside, and for this reason, when he begins to act, his
Physical activity is always difficult. Because it creates a separation.
artificial between the physical side and the psychic side of the character's life in
the given circumstances of the work.

By stating that the uninterrupted line of physical actions, that is to say, the
the life line of the human body occupies a huge space in the
creation of the character and provokes the emergence of internal action, of the
experience. It is essential to understand that the union between physical life and
the soul is indissoluble and, consequently, they cannot be separated in the
artistic analysis process the behaviors both internal and
externals of a person.

It is essential that from the beginning the actor knows that he will analyze the work.
from its action, which after the logical dissection of the work, to which
denominates 'rational prospecting', the director is going to propose entering into
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the stage space, that carries out its action in a situation

concrete. All the objects that the actors need during the action,
like hats, books, etc., everything that can help the actor to believe
in the plausibility of what happens, one must be prepared beforehand
start working.

Does this mean that when the actors begin the study phase,
during which they seek the logic and continuity of their
psychophysical behavior, they will not return to work anymore
table?

No. They will return after each study to reflect on what

discovered by themselves, to verify how accurately they have
fulfilled with the idea of the playwright, including the idea of the director, to
share your life experience gained during the work process,
to receive answers from the director to the questions they may have
arisen, to understand the text even more deeply and, by doing
Set aside the lie, seek again in action the fusion with paper.

In the active analysis of the work, the place of utmost importance is

the word in the scene. The verbal action is the main action of the
show, the fundamental vehicle of it is evident in her
incarnation of the author's ideas. One must always try to ensure that in the
scenario, just like in life, the word is indissolubly
joined to the ideas, tasks, and actions of the character.

The entire history of theater is linked to the problem of stage speech.

force of the influence of words, saturated with truths, authentic
feelings, expression of the content of the work, has always occupied the
mind of the most important men of Russian theater initially -
from Stanislavsky- and subsequently from the men of the theater in the
world.

The high demand for the role of the word has been dictated by the
wealth of the great dramaturgy in which a whole has been formed
theater generation with its surprising and wonderful texts that
they put before the most important choristers of the world stage the
demand for maximum truthfulness in speech.

Since then, it has earned its rightful place in the

Russian scene in its beginnings, the realistic montage, as a result of the
incarnation of realistic drama, the great ones have begun
actors to give primary importance to "the word, matured by the
heart (Schepkin)1... sounds of
Mijail Semiónovich Schepkin (1788-1863), Russian actor, serf until 1822, founder
of actor realism. His diaries served as a basis for Stanislavsky.
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soul and heart, expressed with words, often more

varied than musical sounds.

The realist theater -among them mainly the Russian-, formed in the
respect and love for the word, has posed and worked with seriousness
the insistence on the problem of stage speech. When staging the
word, to embody a character, and depending on its nature, is
essential first of all a plausible pronunciation of the text.
He set as an unappealable condition for the actor to understand the idea.
contained in the words, that I study their development.

It is also essential to individualize the discourse of

character, by saying that there may be similar demands for simplicity and
naturalness in the delivery of the text on stage. Everything depends on
Who is the one speaking? 'The speech is natural and a reflection of life in
Hamlet, but it is neither natural nor reflects life in Chatsky.2.

The statement that Gogol makes about the word is very interesting in
scene. It said that the naturalness and the scenic truth of the discourse
it depends on how the rehearsals go. Write that it is necessary

...that all [the actors] learn the part by heart.

jointly and this will pass by itself to the head of each
actor during rehearsals, as the environment and the
the circumstances surrounding him will make him hear the truth
intonation of his role... But if the actor studies the role only
from his house, an affected response will come out.
grandiloquent, and that response will remain fixed in him for
there will always be no way to break it ... the whole work becomes
she will return deaf and estranged to him.

By observing and analyzing the experience of the best teachers of the

scene over many years, we see that they shaped a
balanced teaching method on stage speech. It is not just a
theoretical work, or the dissemination of some experiences, but a method
that discovers the way to know how to use the author's word, one
a series of pedagogical tools that help the actor to make active again,
true and dense the words of the author.

By working on the study of the word and observing that it represents

a powerful vehicle to reflect the artistic-intellectual orientation of
the work and to influence the viewer, there is a requirement to
an actor with a deep knowledge of the content of the work and of its
subtext, hidden by the author behind the words.
Character from "The Misfortune of Having Wit", a verse work by Aleksandr
Sergusiévich Griboyédov (1795-1829).
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Taking the above into account, one arrives at the conviction that the
the main danger that threatens the actor on the path to action
organic on the stage is the approach too direct to the
text. And this is a decisive factor that changes the practice of
the rehearsals.

A play is more captivating in its first reading the more

more intelligently written. The behavior of the characters,
the relationship between them, their feelings and ideas are so
understandable, so close that, involuntarily, a formation is created
mental image of them; you just have to learn the text and in a way
imperceptible the character created by the author takes possession of one.

But if the actor limits himself to learning the text by heart, what is represented
so vividly in the actor's mind it immediately becomes
something dead.

How to avoid this danger?

The actor can reach the living word only as a result of a

great preparatory work that leads him to value words as something
essential for expressing the ideas of your character. Any
mechanical memorization of the text leads the actor to "feel over the
muscle of the tongue," that is, turn your work into clichés, into something
dead.

At the beginning of a work, the words written by the author require the
not to be learned, but to discover the ideas deposited
in them by the author. Master all the internal impulses that dictate a
and another word is an extraordinarily complex process.

In "The actor's work on himself" Stanislavsky wrote:

Believing in someone else's fiction and living it sincerely, is it according to

are you a trifle? Don't you know that this creation
about an unrelated topic is much more difficult than the
creation of our own fiction... ? We redo the
from the playwrights' works, we discover what is in them
hidden by words, we insert our own into the other text
own subtext, we establish our relationship with the
people and their living conditions; we reworked it and gave it to him
we add our fantasy. We become intimate with it, we
we identify physically and mentally, we give birth to
we the 'truth of passion'; as the final result of
in our art we create a productive action, closely
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joined to the fiction of the work; we create vivid images,

characteristics of passions and feelings of
character portrayed

Stanislavsky sought new ways to reach a state in which

the intellectual creation arises in a completely organic way and the
process of its incarnation. This has to do first of all with the
initial period, which plays a decisive role for all steps
later.

If the work begins with the actor memorizing the text,

In the best case, he will only manage to tell it decorously to the.
spectator. And this is completely natural, as in life always
we say what we wish to say, knowing perfectly the
purpose of our words. In life, we always speak "thanks to
a verbal action, complete, productive and useful." In life we manifest
our ideas with the most varied words. We can repeat one and
again the same idea and we will always find the right words
depending on the person we are speaking to and on whose behalf
let's talk. In life we know that our words can bring joy,
offend, calm, insult..., and when addressing others with words,
inevitably we introduce a certain feeling into them. In
life, our speech reflects our ideas, our feelings,
That is why it unsettles and produces reactions in the people around us.
In the scene, something else happens. We, by living fully the
feelings and ideas of the characters in the work, for not believing in the
given circumstances, dictated by the author, we must pronounce the
character text as something alien.

What to do for the text to become 'ours'

organically, essential, for the word to be useful to us
as a tool for action?

It is proposed to meticulously study the course of the character's ideas

so that it can be possible to express them with our words. Well, yes
we know exactly what we are about to talk about, we will be able to -without
understand the text-, express the author's ideas in our own words.
Stanislavsky says that it is necessary to understand ideas and feelings.
contents in the text:

There are ideas and feelings that you can express without
words. All the work is in them, not in the
words. The line of the paper traverses the subtext and not the text.
But the actors are too lazy to dig deep.
words of the subtext, and that is why they prefer to crawl through the
external, formal words that can be pronounced
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mechanically, without spending the energy required to

excavate to the internal essences.

In the fight with the formal word, it is necessary to analyze in detail.

feelings and words dictated by the author in such a way that they can
to carry them out in their own words as proposed by the playwright. The
the secret of this method lies in that during a certain period
actors are not allowed to memorize the role (the text of the
parliaments), thus saving them from absurd formal memorization, but
that the actors delve into the subtext and follow the internal line of the
paper. With the memorization of the text, the words lose their meaning of
their action and become a 'mechanical gymnastics', in a 'chatter
of sounds learned by heart." For when the actor is deprived
for a certain time of others' words, there is nothing behind what
to hide, and involuntarily moves along the line of action. When speaking
in his own words, the actor realizes that the speech is
inseparable from the task and from the action.

About the rehearsal period in the process during which the actors
they express the author's ideas in their own words, he wrote
Stanis1avsky:

This has protected you from the mechanical habit of

formally pronounce an empty, un-lived text. I have
saved the wonderful words of the author for a better
use, not as charlatanism but as an expression of action
and execution of the fundamental task.

By freely analyzing the course of the character's ideas, we will not be

text slaves and we will reach it only when we need it for
to express the ideas that we have already understood. We will love him when.
the author's words accurately reflect the ideas with which we
We have become familiarized during the process of active analysis.

FUNDAMENTAL TERMINOLOGY OF ACTIVE ANALYSIS

What is presented below is an attempt to establish points of

common references when approaching something so complex and
frequently subjective as is the construction of a character.
There are several interpretations of the same word, sometimes
contradictory, there is imprecision in the use of those words and
there is also a stream that denies the validity of the use of terms
precise in theatrical pedagogy, affirming that the art of the actor is something
that cannot be subjected to rules. All of this produces nothing but confusion and
discouragement when it comes to tackling a role.
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What is presented below does not aim to set a precedent; it is subject to

to the review that only a permanent implementation can lead to
cable. It is extracted, however, from works created by educators
who dedicated a great part of their life to bringing order to the chaos in which
Often, the interpretation of a character becomes. As I used to say
Stanislavsky, we, the actors, are not to blame for science
has never taken care of our art, and we have been forced
to extract terms from psychology, biology, philosophy, and others
sciences.

Given circumstances
They are all those external elements to the character, not produced by
himself, or produced by himself, but in a more or less distant past
distant and that decisively influence their behavior. The time, the
historical situation, the place of action, the time of day, the season of
year, the relationship, both social and emotional with the rest of the
characters, the events that occurred prior to the present moment,
the events that are presented as imminent, all of this is part of
a conglomerate of circumstances that are given by the author and the
director and the actor completes and enriches. A part of these
circumstances are exposed in the text of the work or are deduced from
he; others are created by the staging in the form of movement
scenic, lighting, music, noises, etc.

Task (objective)
In life, we are constantly pursuing some goal, we want
to reach a goal that changes in importance, level of difficulty or lim
complexity. We can achieve that goal or see our efforts frustrated.
aspiration, but our behavior always tends to achieve
a tangible purpose. With theatrical characters, exactly the same happens.
the same. I recommend using the term 'task', as that word
it contains the idea of a process, of something prolonged over time that requires a
I determined effort to achieve, unlike 'goal', which makes
to think of a purpose isolated from the process, from the means for
to reach it.

Event
Event that fulfills two conditions: it is unexpected at least
for a character and change the task of at least one character. Although
sometimes the task or objective may not seem to change, the appearance of a
event always produces an obstacle that the character must overcome and
In this sense, the scenic task will always undergo a modification,
even if it is slight. An event is never stretched out in time, it lacks
process, is almost always external to the character and lasts a fraction of
second. I The precise time for the character to notice their
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presence. There may be events that occur off stage, out of

the view of the spectator, but to take them into account we must look at one
or several characters enter the scene with a behavior
conditioned by that event.

Action
They are all those psychophysical behaviors that a character exhibits.
as a result of the occurrence of an event and with the
purpose of performing a task. For the correct definition of an action,
the actor must ask themselves what am I doing? and then what for
What am I doing?, a question that will define the task; both questions.
they are inseparable. From the above, it follows that each task has its
corresponding action.

Activity
Action is often confused with activity, surely because
both are visually perceived by the viewer as part of the
character behavior. But the activity, unlike the
action, does not require a large emotional involvement from the character, nor
needs to obey a mobilizing task in which the character is
play something important. The activity is a job, a behavior to
mechanical times that may be due to reasons different from those that
obey the action, it can even be in contradiction with the action.
activity does not require internal monologue, it can be executed
mechanically, without the conscious line of thought taking part
in her. For example, a character can light a cigarette and give the
first suckings as a way to calm the anxiety it produces
waiting for a person who arrives late to an appointment; the action will not be
smoke a cigarette
"contains his anxiety". A soldier who must execute a deserter
feels disgusted by the idea of killing a colleague; their action does not
It will be 'load the rifle, take off the safety, and aim', a more appropriate statement.
for the activity, but rather 'delays the preparations for the execution', of
so we will have an action that conflicts with the
activity.

Supertask (superobjective)
The task that the character maintains as the end of all their actions is
throughout the entire work. Partial tasks may vary depending on the
emergence of events, which in turn present the emergence of obstacles to
overcome, but as a permanent goal, as a guide for all the
the character's actions must remain in his mind a single one
super task. The same reasons mentioned above suggest using
"supertask" instead of the usual "superobjective."

Cross-cutting action
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It is the action corresponding to the supertask and permeates the entire work, it
keeps throughout it. The correct definition of actions
partial, triggered by events, are very helpful for
the actor in the construction of his character, but it is a help
incomplete if a permanent action that the is not defined either
to thread them all. It's like the thread, seemingly of little value, that
string the pearls of a necklace; no matter how valuable the pearls are, if
the thread does not exist, the necklace does not exist.

Facts and events

These two terms are often confused when analyzing the
behavior of a character. An event always produces a change
in behavior, in the objective or task, in the line of action of
a character, while a fact, even if it is external to the character, does not
no change.

Assessment of facts and events

When something unexpected happens on stage that alters, even if it is
provisionally, the given circumstances of at least one
character, this must show a reaction; there is always a resistance
he accepts the new circumstances given, an inertia of the
given previous circumstances; although it lasts no longer than a fraction
Secondly, this force of inertia from the past must be visible to him.
viewer. Following an attempt to adapt to the new
given circumstances, which is also of very short duration. To the sum
Both moments are called valuation. Its intensity will be greater or
lesser depending on the importance that the actor and director wish to give to the
valued event. The assessment of the facts is usually of
intensity less than that of the events.

Conflict
It is the clash between two opposing interests. This clash can
to occur between two characters who have opposite tasks,
incompatible, but it can also occur within a single
character with the clash between their task and the given circumstances that
prevent or hinder its execution. The existence of a conflict
perceptible to the viewer is essential for them to maintain
your attention to what happens on stage. The lack of conflict is not
attractive to the viewer.

Internal monologue
On stage, just like in life, a character is thinking.
always and their thoughts are influenced to a greater or lesser extent
due to events and occurrences arising from abroad. In the interpretation
from a paper the chain of thoughts or 'internal monologue of
the character has two fundamental characteristics: it is uninterrupted and
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it is always improvised, that is to say, it is done again in each performance and in

each essay. The internal monologue can be in agreement or in
contradiction with the text said aloud and many times this last one
it is the most enriching. To develop an internal monologue of content
permanent, but with improvised words in each function it is of a
great help when creating the feeling of scenic truth that leads
to make the viewer think that everything is being done for the first time.

Visualization
Imagination is a faculty that is used in real life in a way
permanent both in speaking and in listening. For a text to be
pronounced in a way that reflects life, it is essential for the actor to see in
the screen of your imagination what you are talking about. It is necessary
that the actor sees behind the words of the author the living facts that
these describe.

Communication and intercommunication

They are processes closely tied to visualization. When a
the person speaks, first they see in their mind the corresponding image
that which he wants to convey and then pronounces the words. When
a person listens, the reverse process occurs, that is, first
perceives the words through the ear and then transforms them into
images. The communication processes (in one direction) and
intercommunication (in both directions) between two people is, in
reality, an exchange of images, and the refusal of anyone to
two parts to give or receive images, although provisional, implies a
immediate break of the line of communication. The moment when it
that break is perfectly visible to the viewer.

Adaptation or adjustment
In a normal intercommunication process, it is common for attitudes
internal and external factors of the interlocutors are affected by the
words that one or both pronounce and even through silent actions
that they carry out. One character tries to influence another not only with
not with their words, but with the way they say them and the latter allows,
pretend or reject the influence; in any case, he will be trying to
penetrate the spirit of your interlocutor and see the images that he
is watching while communicating with words or actions. This is called
adaptation or adjustments, as each interpreter tries to adjust or adapt
to the behavior of the other so that it is possible to establish a
communication; the adaptation must be visible to the viewer.
different for each actor, even when it comes to actors who interpret the
same character.

The magic 'yes'

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When an actor begins to approach a character, the first thing that

one must imaginatively place oneself in the given circumstances in
that character is found at a certain moment in the
work, that is to say, one must mentally seek an answer to the question: what
What would I do if I found myself in the given circumstances of the character?
That conditional 'if' has a much stronger mobilizing force than if the
the actor thought that "he is" the character, as the conditional implies a
assumption in which part of oneself, of their own personality, part
from a hypothesis that does not necessarily have to become
reality; in one word, the conditional "yes" gives a sense of play to the
theatrical interpretation, mobilizes the imagination and eliminates excess of
transcendence.

Interpretation "in general"

It is the empty interpretation and lack of interest for the viewer that
achieve by ignoring the given circumstances. It is the result of not
use the magical 'yes'. If an actor does not behave according to the
given circumstances (place of action, relationship with others)
characters, era, part of the day, sound atmosphere, events that have already
occurring, etc.) will be displaying one acting cliché after another, a succession
of affected topics. The feeling of fury cannot be interpreted.
Similarly in all cases: the fury of one cannot be the same as that of another.
businessman feeling swindled by his partner in fury
from Othello believing himself deceived by
Desdemona. In theater, there are no feelings or emotions.
disconnected from the circumstances that have produced them.

Second plan
Both in life and on stage, situations frequently arise.
in which a character must conceal their true ideas from others
feelings. However, this second level of psychophysical activity
it must always reach the audience, the actor must develop a
activity that allows making the internal conflict intelligible to the public
between what it shows and what it hides, but doing at the same time
It is plausible that the other characters on stage do not notice
the conflict.

July 2016. Text taken and intervened by Carlos G. Arango Obregón, from:
The Last Stanislavsky, Active Analysis of the Work and the Role
Madrid: Fundamentals.
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