part of acting--yourself--with only vaguely stated "rules" that
I found to be only terminology and of no concrete help.

When you are a pianist you have an outside instrument that you
learn to master through finger work and arduous exercises and with
it, you as a creative artist can perform and express your art. As an
actor, you the artist have to perform on the most difficult instru-
ment to master, that is, your own self--your physical being and
your emotional being. That, I believe, is where all the confusion
of the different schools of acting stems from, and that is why your
manuscript, which I hold in front of me, is worth more than its
weight in gold to every actor--in fact, I believe to every creative
artist.

As I said before, everything I have learned from you I have
applied through the years, in every medium in which I have
worked, not only as an actor, but as a director, not only in the
theater, but also in television, in camera work, scenery design, in
co-ordination of the complex thing that is a live dramatic television
production.

To my mind your book, To the Actor, is so far the best book
of its kind that it can't even begin to be compared to anything
that has ever appeared in the field. And, in my opinion, it reads
as well as any good fiction I've ever come across.

At this point I can only express my thanks to you for having
now made available, for me and for other artists, a valuable short-
cut to mastering what you refer to as "creative process."

Yours,

-x-