chapter  3
VAK in theatre
Pages 23

So far we have examined the three modalities in everyday life as they can be practiced by anyone, with particular emphasis on applications to the life of the actor, but not to the acting process. Now we will apply them to the ways an actor prefers to work and the ways a characterization evolves. How would a strong inclination towards V, A or K influence one’s choices from rehearsal through performance? And how can we learn to relate to everyone’s choices and to care for all theatre artists strongly, no matter how different they may be from our own?