Stanislavski spoke to her about the value of imagination, how it allowed the actor to live within the given circumstances, which in turn gave you the where, the how, and the what that allowed you to shape the character. He began to test her imagination. “Just do a few things and put a plot around it,” he instructed her. Adler contrived a quick scene. She looked out the window, saw something of deep emotional significance, went to a desk to sign a letter, then got her hat and coat to leave. Three simple actions, connected by a sketched-in given circumstance, leading to an emotional reality.
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