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| Format: | Recurso digital |
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Zenodo
2026
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| Online Access: | https://doi.org/10.5281/zenodo.19827642 |
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Table of Contents:
- <p class="MsoNormal"><span>The transformation of psychological objectives into physical actions constitutes one of the fundamental principles of acting in theatre art. This study examines the relationship between an actor’s internal psychological processes and their external physical expression on stage. In theatrical performance, a character’s inner world—comprising thoughts, emotions, and motivations—cannot be directly perceived by the audience (Ahmedova, 2025). Therefore, actors must convey these internal elements through purposeful physical actions such as gestures, movements, facial expressions, and vocal variations. The research highlights the significance of this principle within the framework of modern acting theory, particularly in the system developed by Konstantin Stanislavski. His method of physical actions emphasizes that every stage movement must serve a clear objective and reflect the character’s inner logic. The study also explores how this principle enhances stage authenticity, strengthens the emotional connection between actor and audience, and contributes to the creation of believable and dynamic performances. Ultimately, the unity of psychological intention and physical action is essential for achieving artistic depth and realism in theatrical practice.</span></p>