93.) To give substance to his ideas, Stanislavski studied how people act in everyday life and how they communicated feelings and emotions, and then he found a way to accomplish the same things on stage.
             When he observed actors and actresses of his day, Stanislavski noticed how fluid and lifelike their movements were. They seemed to be in a state of complete freedom and relaxation, letting the behavior of the character come through so easily. He concluded that unwanted tension has to be eliminated and that the performer at all times must remain calm and relaxed.
             Stanislavski also noted that performers should always appear fully concentrated on some object, person, or event whilst on stage. Stanislavski referred to this concentration as a circle of attention. This refers to when the performer should begin with the idea that it is a small circle including only himself or herself and perhaps one other person or one piece of furniture. When the performer has established a strong circle of attention, he or she can enlarge the circle outward to include the entire stage area. In this way, performers will stop worrying about the audience and lose their self-consciousness.
             Another of Stanislavski's techniques was an emphasis on concrete details. A performer should never try to act in general, and should never try to convey a feeling such as fear or love in some vague, halfhearted way. In life, Stanislavski thought that we express emotions in terms of specifics. For example, a frustrated person will fiddle with his fingers, or a drunken man will always wobble. Performers must find similar activities to these in order to remain focused and convincing.
             The performer must also believe in the situation in which a character exists (which Stanislavski referred to as the given circumstances) in terms of specifics. In what kind of space does an event take place: formal, informal, public, domestic? How does it feel? What is the ...