ABSTRACT
The picture I've been trying to paint so far is that acting cannot help but be psycho-physical. We can't help but recruit our bodies, imaginations, spirit and emotions into an art form which is essentially experiential. In Chapter 2, I looked at this from the perspective of physical training and how our bodies constantly inform our imaginations and our 'inner lives'. In Chapter 3, I looked at it in terms of building an ensemble and how the information we glean from our partners (and the actual space between us) provokes our imaginations and our bodies. And now I want to illustrate how all this can be applied to formal work on a script and a character. Psycho-physical acting isn't just an exciting kind of training; it's a vital and energising approach to text and performance.
