not imply passiveness. You may sit without motion
and at the same time be in full action. . . . Frequently
physical immobility is the direct result of inner in-
tensity. So I will . . . put it like this: on the stage it
is necessary to act, either outwardly or inwardly. Every-
thing that happens on the stage has a definite purpose.
. . . All action in the theatre must have an inner
justification, be logical, coherent and real . . . and as
a final result we have a truly productive activity. . . .

An example: With what is Lady Macbeth occupied
at the culminating point of her tragedy? The simple
physical act of washing a spot of blood off her hand.
. . . In real life also many of the great moments of
emotion are signalized by some ordinary, small, nat-
ural movement. . . . A small physical act acquires an
enormous inner meaning: the great inner struggle
seeks an outlet in such an external act. The significance
of physical acts in highly tragic or dramatic moments
is . . . that the simpler they are, the easier it is to
grasp them, the easier to allow them to lead you to
your true objective. . . . By approaching emotion in
this way, you avoid all forcing and your result is nat-
ural, intuitive, and complete.

There are no physical actions divorced from some
desire, some effort in some direction, some objective,
without one's feeling inwardly a justification for them;
there is no imagined situation which does not contain
some degree of action of thought; there should be no
physical actions created without faith in their reality,
consequently a sense of truthfulness. All this bears wit-
ness to the close bond between physical action and all
so-called "elements" of the inner creative state.

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