ABSTRACT
If there is no clear understanding of the external technique as an integral part of acting, then there is no understanding of the significance of the actor’s body as the ‘apparatus of embodiment’ and, as a result, no need to develop this apparatus. The logical consequence of this was not only driving the work on external technique out of acting classes into the sphere of ‘applied’ disciplines. The applied disciplines themselves turned out to be incomplete and inferior. The basic subject of physical actor training has disappeared or rather has not been created at all.
