ABSTRACT
Actors should train in plastique not so that they can dance or acquire a beautiful gesture or posture but in order to imbue their body with the feeling of plasticity (cultivate it). Moreover, plasticity is present not just in movement but in a piece of fabric tossed by a nonchalant hand, in the surface of a frozen lake, in a cozily sleeping cat, in suspended garlands, and in a still marble statue.
