It's very hard to describe what acting is. Everything you focus on exists in an invisible world. Deep down, whatever I, or anyone, teaches, is a philosop-25y based on what we know about life and the creative process.
The most important thought anyone teaches is what, and how, an actor beeves they should do when they act. Actors do what they think they should do. If I can discover what an actor thinks they should be doing, I can fix any problem they have in their creative process. Acting training shouldn't teach you to separate life into separate realities.I want actors to think like human beings, trying to put themselves into someone's else's shoes. And, I teach my organic technique directly within scene work. Because all realities exist within the play to being with.
This is a distinct departure from what Stanislavski and the generation of great American teachers did. They analyzed acting, and plays, into their separate parts, with actions, objectives, emotions, substitutions, sense memories, etc. Teachers continue adding techniques from our growing knowledge of human behavior. Some of it is brilliant. But, they reduce a natural, organic process, so that you believe that there is a recipe for creating a work of art. And, forget that the systems and methods developed from their understanding what great actors did naturally.
They recognized and revered Talent and Inspiration, but considered them part of a mystical, indefinable, invisible world. Up to now, no one has defined and trained talent and inspiration, or intuition and consciousness, all of which are at the heart of the creative process. Unless that is done, it is impossible to know what you are really teaching.
What follows is a very simple outline of the nine natural laws of creativity, which are the foundation of an organic creative process.