Method of physical acting

Method of Physical Action (MPA) requires an understanding of the significance of physical action, or more specifically, in the performance of physical action. It is based on an idea that emotional life is a kind of two-way street; further, that the only thing an actor will ever have control of in his life as regards himself is his body, nothing more. There is never a direct line to emotions in performance, only to the body. Emotions may be remembered and brought up via emotional memory, but Stanislavski generally considered this to be a rehearsal tool or technique of research, at best. There is, in the end, only the body.Therefore the actor and the director must work hard using the body, that is, the body's performance of physical action, as the primary material of creation. That is the subject of rehearsal, how to come to physical actions that affect the actor and bring the scene to life at the same time. So in one pass both emotional and aesthetic considerations are dealt with, and a way of working is given while the enormity (indeed, infinity) of options, the entire landscape of possibilities of performance, are sensed.The MPA is such a simple idea it comes very close to the default, to a kind of techniqueless technique. Figure out what to do: where is the technique in that? Two points must be made: first, that thorough physical training is always required, and second, an understanding of what a truly good physical action is, is also required. Both can take years of experience and reflection. The art of performance cannot be learned from literature but instead from action: from performance, and observation. Salaam Stanislavaski..................