Harold Clurman: character work within the larger action and meaning of a play.

Brecht’s actor training: the performer’s relation to character and the spectator’s judgment.

Peter Brook: rehearsal, experiment and the encounter between performers and spectators.

Jerzy Grotowski: the actor’s action, contact and the distinction between theatre and later research.

Jacques Lecoq: movement, masks and physical invention in actor training.

Michel Saint-Denis: imagination, interpretation and training for varied theatrical forms.

Jacques Copeau: a simple stage, actor preparation and the work of an ensemble.

Vsevolod Meyerhold: physical form, rhythm and the actor’s theatrical expression.

Yevgeny Vakhtangov: theatrical invention, fantastic realism and believable action.

Use the scene to investigate what people can do.

Give the feeling somewhere to go.

Speak to someone.

Put language into action through your voice.

Let your voice respond to what you need to say.

Try one playable adjustment.

Read the play as a whole, then test your choices.

Give play a clear focus... and see what happens.

Give attention, action, and observation a daily practice.