This article is my summary of the 17th chapter of An Actor’s Work by Konstantin Stanislavski. This book is a new edition and English translation by Jean Benedetti of the material previously published under the titles « An Actor Prepares » and « Building A Character« .

Previous chapter: §16. The Subconscious and the Actor’s Creative State (Konstantin Stanislavski, An Actor’s Work)
Next chapter: §18. Physical Education (Konstantin Stanislavski, An Actor’s Work)
Table of contents: An Actor’s Work (Konstantin Stanislavski)

What is Physical Embodiment ?

Physical Embodiment is the second part of the Actor’s Work on Oneself. It deals with the actor’s external apparatus. It is the means whereby the actor fulfils the second part of his Basic Goal, that is to Communicate externally his inner Experience of the role.

“Up till now we have been dealing with the inner aspect of our art and its psychotechnique. From today on we shall be working on the bodily apparatus we use for physical embodiment and its outward technique. Here in this theatre we assign exception importance to its role, which is to make the invisible creative life of the actor visible. Physical embodiment is important in so far as it conveys the ‘life of the human spirit’.”(p. 352)

Is Physical Embodiment a conscious process ?

Like Experiencing, Physical Embodiment is also an unconscious process, governed by Nature. 

“The techniques we use to embody unconscious experiences do not respond to cold calculation either. They, too, must often embody our minds unconsciously and intuitively. This is beyond the conscious mind. Only nature can do it. Nature is the best creative artist and technical master of all. She alone has the absolute power to control both the inner and outer apparatus of experiencing and of embodiment. Only nature herself is capable of embodying subtle immaterial feelings using the crude material of which our vocal and physical apparatus of embodiment is composed.” (p. 352)

What should be the actor’s conscious work in relation with Physical Embodiment ? 

The actor should consciously work on developing and preparing his physical, external apparatus – his body, his voice – so that it can freely respond to all the commands of Nature.

“It’s impossible to convey the things nature creates unconsciously with an unprepared body (…) The greater the artist, the more subtle his creative efforts, the more work and technique he requires.” (p. 353)

“We must develop and prepare our physical apparatus with which we embody in such a way that all its parts respond to whatever nature asks of it.” (p. 352)

“We must develop our voice and body with nature as a basis.” (p. 352)

“Develop your body and subordinate it to the inner creative commands nature gives.” (p. 353)

Previous chapter: §16. The Subconscious and the Actor’s Creative State (Konstantin Stanislavski, An Actor’s Work)
Next chapter: §18. Physical Education (Konstantin Stanislavski, An Actor’s Work)
Table of contents: An Actor’s Work (Konstantin Stanislavski)