ABSTRACT
There is always a certain ‘what’. [For example,] the play is ‘what’, [and] we have to deal with our parts as ‘what’. There are two ways in this ‘what:’ one is leading to ‘why’, and that is pure science. When we take a play and try to discover ‘why’ the author has done this or that, we will never be able to act it. The other way is ‘how’, and that is our way as actors.
