ABSTRACT
A craftsman conveys the ideals of his craft; a magician - the cleanness of his work, the dexterity and agility of his hands, a representational actor conveys the feelings - within his narrow bounds, of course. The actor is afraid to overact, and he therefore switches off an entire sphere. Yet, this sphere is the main source of energy. The actor turns helpless, will-less, and irresponsible. Of course, he feels that something is off; he is irritated inside and even gets angry - but the power just isn't there. The actor must be put in such conditions that his energy comes out on its own and becomes his second nature. At the Art Theatre's studios there is a habit: the actor arrives deflated, and then you have to pump him up and get him going. You don't have the right to reproach him, yet he won't budge a bit, unless you take some extreme measures - such as Sulerzhitsky's whip.
