Thinking

According to the chapter on Thinking, why is attempting to slow down the process of thought on stage considered inaccurate?

What mistaken notion causes an actor to feel obligated to illustrate thought through physical or facial expressions?

In the chapter on Thinking, what is the relationship between real thinking and action?

What term does the author use for the mental images of people or things not physically present that trigger the thought process?

To illustrate the concept of 'inner objects', the author describes putting on a coat while mentally dealing with what?

What question does the author prefer to ask an actor to help them get out of the habit of verbally analyzing their thought process?

How does the chapter distinguish between an actor's thinking and a philosopher's thinking?

What examples of 'destructive distractions' from an actor's private life are mentioned in the text?

What is the prescribed method for conquering intrusions on 'true thought' from an actor's private life?

What happens when an inner object within the play is not made real to the actor?

What are the easily triggered sources for the thinking process that accompanies the immediate give-and-take with another character on stage?

In the author's view, what is the actor's relationship to the act of thinking versus the act of doing?

What does the author suggest can happen to the physical task of putting on a coat as a result of thoughts about an 'inner object' like the laundryman?

What scope of time must an actor's thinking process encompass to be effective?

According to the chapter, what is the result of having a larger selection of inner objects?

How should an actor handle the order of their character's thoughts?

What physical manifestation is often seen in an actor who is wrongly 'illustrating' thought?

The chapter states that 'real thinking is active'. What examples of activity are given during which a person is thinking?

In the example of thinking about a grocery list, the thought of imported French beans can lead to what further consideration?

What is the actor's thinking primarily dependent on, according to the chapter?

What action should be taken with 'destructive distractions' from an actor's private life before entering the dressing room?

A 'dead-end object' is an inner object in the play that has what characteristic?

Besides the other characters and events, what else must be clothed in reality for the actor through particularization and substitution?

What is the ultimate function of the 'objects' that channel an actor's attention into the character's private circle of life?

The author states that any attempt to verbalize all the thoughts occurring in a few seconds would likely take how long?

Why does the author state that a diligent actor mistakenly writing out a character's thoughts is an error?

Contact with an inner object, such as a friend coming to dinner, may produce what kind of thought?

The chapter suggests that the actor's thinking is NOT what?

What is the consequence of thoughts and objects from the actor's private life intruding on their concentration on stage?

What does the author state is the only way to conquer the intrusion of unwanted thoughts on stage?

What is the relationship between the number of inner objects an actor cultivates and the resulting thought and action?

What term is used to describe the thoughts that accompany the immediate give-and-take with another character on stage?

What is the final instruction in the chapter regarding the actor's thoughts?

The author contrasts an actor's thinking with a philosopher's, stating that actors are what?

What does the text claim will happen if an actor feels obligated to illustrate thought, such as by furrowing his brow?

The thoughts about a grocery list or a laundryman are examples of what?

What does the chapter say about the character's thoughts when the actor is performing a physical task like putting on a coat?

What is the primary danger of an actor focusing on their own desire for success or an agent in the audience?

To produce a character's 'thinking' in a true life-style, the actor must use what?

What is the result when thoughts are successfully anchored to the events and characters of the play?

The author gives an example of a disastrous stage moment involving a light switch to illustrate what point?

What does the author mean when she says an inner object in the play that is not real to the actor will be a 'dead-end object'?

The chapter emphasizes that to act is to do, not to think. This is because actors, unlike philosophers, are what?

According to the author, when asking an actor 'What were your inner objects?', what is the intended outcome?

What is the primary way that thoughts are anchored on stage, according to the chapter?

What does the author suggest will happen to the physical task of putting on a coat if the actor's inner attention is on a remembered argument with a laundryman?

What must be true of the people, events, and tangible things on stage for them to serve as anchors for thought?

The chapter warns that feeling obligated to illustrate thought comes from what specific mistaken notion?

What is the role of inner objects in relation to the actor's attention?

What does the author suggest would happen if one were to verbalize the thoughts from the moment an actor flicks a light switch to the moment the lights come up late?