Emotional Memory

What is the author's primary criticism of an actor illustrating thought bodily or facially, such as by furrowing their brow or smiling pensively?

According to the author, what is the relationship between real thinking and action?

What does the author identify as the source from which thoughts spring?

How does the author suggest an actor should combat unwanted distractions from their private life while on stage?

What is the consequence if an inner object in the play is not real to the actor?

The author states, 'To act is to do, not to think.' What is the meaning of this statement in the context of the chapter?

What kind of distractions does the author say most often come from the 'havoc of your daily private life'?

Instead of asking an actor 'What were you thinking?', what question does the author prefer to ask to help them avoid verbally analyzing their thought process?

What does the author suggest is the problem with an actor writing out their character's thoughts as if they were dialogue?

According to the chapter, what must an actor do to make people, events, and tangible objects in a play's world produce genuine thought?

The author gives an example of putting on a coat while thinking about a grocery list, the laundryman, or a dinner guest. What does this example illustrate?

What must an actor keep 'fluid' for their character's needs rather than attempting to pigeonhole them in compartments?

What is the author's view on the speed of thought and its implication for acting?

What does the thinking process that accompanies the immediate give-and-take with another character depend on?

Why does the author state that 'Real thinking is active'?

What is the primary danger an actor faces when they feel obligated to illustrate thought?

The author describes a philosopher's thinking as organizing a chaotic process into an objective viewpoint. How does this differ from an actor's thinking?

What is meant by the term 'inner objects' in this chapter?

According to the author, where should destructive distractions like vanity and ambition be 'dumped'?

What is the result of making the play's surrounding circumstances, characters, and events real through particularization and substitution?

The author gives an example of thinking about a can of imported French beans while putting on a coat. This thought process leads to considering the store manager and other stores. What concept does this chain of thoughts illustrate?

What does the author suggest happens to the physical task of putting on a coat while the mind is occupied with inner objects like the laundryman?

What is the author's main objection to an actor sitting on stage and 'making faces' like furrowing his brow and then smiling to show he is thinking?

The chapter states that 'thoughts are anchored to the events and to the other characters.' What does this imply for the actor's work?

Why must an actor's inner objects be kept 'fluid'?