The first was that the division of the role into bits allows actors to be present in the moment. By focusing everything on the immediate, Stanislavski found that he was “drawing my attention away from what was happening … beyond the black and terrible hole of the proscenium arch.” This led in turn to the interrelated ideas of concentration and attention, which, when developed, would help the actor focus her “entire physical and spiritual nature … on what is going on in the soul” of the character, creating what he would eventually call public solitude, the art of appearing as if you do not
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