chapter  11
5 Pages

On the Organic Outer Technique

I am in bed; I cannot come to you; I won’t see you for a long time, and yet I need to tell you how vital it is to train in plastique, and how vital it is to know how to train in it, so as to understand the essence of “plasticity” as one of the most essential actor’s qualities. You must learn how to sense modeling, and the sculpture of the role, scene, play; without the quality of plasticity one is unable to do this. It is almost impossible to acquire the quality of plasticity unless you train in plastique skillfully. This is in short. You will nd a detailed and fascinating account of it in a wonderful

book by S. Volkonsky, The Man on the Stage, published by the Apollon publishing house. Read it, and you will be attending the plastique class as eagerly as you now attend your speech class and acting exercises. Next time I will tell you about solfeggio. Ye. Vakhtangov

A phrase must rst be cleared grammatically. All words must be nished, but some words must be said lovingly. Feelings must be threaded through your favorite word. Do not color the nearest words, but rather go along the line of

action. Speech and tone must be placed in the vowels. In a poem, if you try to achieve a singsong quality, or color words

and phrases, the inner meaning will be lost. In text analysis, one should be rst guided by the thought, searching

for the most important words. One must give the right meaning to the word-then the feeling will

come. To start with, one says the words of the scene in a grammatically

sound manner-the feeling will follow. Dull speech results from a mere recitation of facts, without the

emotional experience. When the quality [of speech] turns out to be dull, one must consult

the compass-the through action.