Chapter 10: Communion

Describe why actors need to find a “subject” and “object” inside themselves while performing.
Actors need to find a “subject” and “object” inside themselves while performing because we
need to keep the inner communication flowing. Sometimes it's hard to show emotion through
characters but finding a subject and object with help. “I was delighted because I had found the
subject and the object for which I was searching. For the moment I made the discovery I was
able to commune with myself on the stage, either audibly or in silence, and with perfect self-
possession”(Stanislavski 215). As an actor I will use subject and object when I’m trying to get
into character.
Describe Stanislavski’s methods for acting with and communicating with a scene partner,
especially when you are not speaking.

What should actors do when rehearsing without a scene partner? Why?

When rehearsing without a scene partner actors should do is they should not use their
imagination or objects because it separates the relationships between characters. “What torture
to play opposite an actor who looks at you and yet sees someone else, who constantly adjusts
himself to that other person an not you. Such actors are separated from their very persons
whom they should be in closest relationship”(Stanislavski 219). When I’m going over lines by
myself I will not use objects or my imagination to go over lines.

Chapter 11: Adaptation

How do we adapt, both onstage and in life?
We adapt both onstage and in life by responding to situation that is happening. “We have
recourse to methods adaptation in all forms communion, even with yourself, because we must
necessarily make allowances for the state of mind we are at any given moment”(Stanislavski
243). When I’m acting I will use this to help me get a better understating of how I should
respond to a scene.
Describe the different types of conscious and subconscious adaptations.
The different types of conscious and subconscious adaptation is motor adjustments and Semi-
conscious. “Motor adjustments are subconscious, semi- conscious and conscious in origin.
They are normal, natural, human adaptations that are carried to point of becoming purely
mechanical in character”(Stanislavski 257). I would use this in my acting to make my character
constant each time I perform.
Chapter 12: Inner Motive Force
How do an actor’s mind, will, and feelings contribute to their ability to build a character?
An actor’s mind, will, and feelings helps to contribute to their ability to build a character by
bringing emotional creativeness. “He claimed that up to the present no stress had been laid on
part that the mind and will play in creative work, whereas we had heard a great deal about
feeling”(Stanislavski 266). When I am acting I will use mind, will, and feeling to make my acting
better.