But an actor could not simply leap to ya yesm. This was Stanislavski’s other major principle. If a role “is impossible to own … at once, then one must put it together bit by bit, using various elements for its construction.” Instead of focusing on playing the entire role of Hamlet, an actor could instead see the role as a series of “bits” and focus on accomplishing each of these bits as truthfully as possible. The creative process could also be broken down into its constituent parts, and then put back together in a way that would give you a reliable path to experiencing.
