I do feel a bit short on rehearsal time. And I need someone to tell me whether my attempt to follow Stanislavsky's principles is in the least successful. What I just don't know is how you can tell if all the intense inward thoughts and feelings you muster and foster are actually conveyed to the audience or not. But I'm not sure. This resolves, Callow says, into objective, action, obstacle.
Action subdivides into activities - inner and outer actions and obstacles.
I was amazed how much Williams tells about my character in the few short speeches I'm allotted. I appear at a time when the tense expectation of an awful happening is rapidly building. Aware of my character's place in this dramatic climax, I'm paradoxically determined to try out my newly acquired super objectivity - and to invest every last phrase, pause, and word with feelings deep and true. And act big. A weekly series.