![]() ![]() And dissecting the character’s inner monologue is a vital addition to this process. Your ideas must be aiding you in driving the emotional work of the piece. They end in the same conclusion that emotions and ideas are linked. We know the physical and the psychological are completely linked, you can’t pretend that you are having thoughts and feelings with your body and actually be thinking about the washing. I love this quote because I think it sums up the importance of having a real and palpable inner monologue working for you. that ideas, emotions and sensations are all indissolubly interwoven.” Stanislavski’s work on physical actions also tends to the same conclusion, i.e. Scientists have demonstrated that one’s physical and psychic apparatuses are completely inseparable. “ the human being is a unity, an indivisible whole. The brilliant Brazillian acting maestro Augusto Boal says in Games for Actors and Non-actors , See it’s not just about what you might be thinking moment to moment, but how is the character processing the information as it comes to them, how do they feel about the world around them and most importantly where do these lines come from? What is the motivating factor behind your lines? Is it a reaction to what someone has said, is it an image or a memory from their past, is it their environment around them? By getting some clarity around this you can really help find specificity and life inside the silences of your next performance. While some people may not have them out in the world, the inner monologue is a vital tool for an actor to use as part of their process onstage or onscreen. You may have read some alarming news recently that not everyone has an inner monologue, an internal thought process that is constantly ticking over that if you were to print it out would read like a cohesive train of thoughts and ideas that drive you through your day. ![]()
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