| Truth and Belief
Stage truth is unlike real truth as it is not really true, it is merely suggested to be true by the actor. If the actor fails to employ the magic, if they will not reach the stage where they are speaking and acting as a character, this will cause the audience not to believe and, in turn, stop them from suspending their disbelief.
Communion
Before communicating the subtle nuances of the play with an audience, an actor must commune with the cast. They must be aware of them and the character relationships between them. To achieve full communion the actor must use all senses and he should practice dialogue with another actor so as to learn nothing away from this communion.
Adaptation
An actor must overcome problems to achieve the best portrayal of a role. To keep a creative mind, the actor must think round a problem and approach it in different ways. By doing this, an actor can find imaginative solutions to the problems of staging.
Tempo Rhythm
On stage, less experienced actors may fall victim to nerves and hurry their lines and directions in order to get off as soon as possible. It is an actor's responsibility to find the correct tempo rhythm of every line and action performed. They should rehearse each line and action until they find a suitable tempo rhythm.
Emotion Memory
It is an actor's duty to stimulate his own emotion memory from which to draw and build a character. These memories are repeated emotional experiences, rather than the primary experiences they are based on. In other words, an actor should look for a general approach to a situation rather than their personal one. Stanislavski found this process best suited to re-inventing emotions for performances night after night.
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