ABSTRACT
Stanislavski proposed that actors should practise seeing mental images that relate to various moments in their role, gradually building up a store of these images to produce ‘the film of mental images of the role’ in a logical and sequential way. Konstantin Sergeievich spoke of yet another phase in process of working with mental images – of perfecting the actor’s ability to entice their partner with their images by ‘speaking to the partner’s eye rather than their ear’. The actor must be continually collecting mental images for the role, and that should include mental images for those facts in character’s life which may have occurred either prior to the events revealed in the play, or in between two events, even facts that the character may never refer to. Creative imagination will compel the student to conjure up circumstances in which they would feel like telling the story today, now to particular partner about the particular incident from their own life.
