ABSTRACT
A detailed deconstruction of the script in terms of events, actions and themes enables the performer not to diverge from the play in etudes but to make each episode their own, in and through action, by putting them-self in the given circumstances of the role. An etude rehearsal forces the actor to become aware of all the details of their physical being in any given episode, which, of course, is closely linked with all their psychological experiences. In etude rehearsals, words come to the actor spontaneously as a result of having the correct inner sense of the dramatist’s intentions. The actor’s progress in mastering the material can be gauged by comparing their improvised lines with the author’s original text. Some opponents of the etude method object that the use of improvised text in etude rehearsals allows the actors to ignore both the style of the play.
