ABSTRACT
One's interest in the automatic functions cannot be limited by the narrow field of the actor's art. The word 'technique' is very popular among actors. This ability to deceive people via external means, movements, facial expressions, drilled in intonations, is what actors like to call 'technique'. Aside from this crude, external technique, there also exists an internal technique, a psycho-technique. An actor who has chosen the path of sincerity and experiencing onstage cannot do without an internal technique. The idea that the technique of an actor's creative experiencing lies in the working of automatic functions did not come immediately. In the beginning, everything concerned our usual ideas about the subconscious. The threshold between conscious and subconscious perception is, by all accounts, very high, and subtle impressions cannot jump over it, so they remain subconscious. There is an intriguing phenomenon, somnambulism. Only once you have an advanced technique and developed qualities one can start thinking about free artistic creativity.
