The actor prepares the role and what does he need? No, not knowledge, for knowledge reduces the actor’s mobility, fixes the reflections of the role, which must be constantly in motion.

The actor prepares the role, but the role that he has read, that he has before his eyes, that someone has shown him, told him, taught him, does not exist. The analysis demonstrates that explaining and laying everything out is a dead end. What is there? There is only the role that the actor himself discovered, created. If analysis is needed, it is only for one thing – to understand where the role takes the energy of life. A role is not born with the first and does not end with the last line of the text.  It comes somewhere, sometime, from somewhere and goes somewhere, and no one can know from which station to which one its train rushes. That is the actor’s question. There is an invisible and unheard part of the role – a special flow of energy that permeates the whole role. It is neither seen nor heard, but it is the basis of the life of the role. You can of course work on the role by following how she articulates herself, but it makes sense to work with her when she is in silence – she will tell you more. Thanks to the invisible and inaudible, the secret life of the role will be formed. How to recognise it?

The actor prepares the role of a person, but the role is not a person and lives according to other laws, in other times, spaces, dimensions. It is wrong to analyse the role as a human life. A person has boundaries, but a role does not. The role is immortal, and this drives her to the irresistible desire to approach the edge of mystery, to escape into oblivion, to gain distance from life in order to experience the miracle of resurrection/rebirth.

The actor prepares the role – but the Role has already played and lived it all, she has already had it all. She is in a time loop, for her all the mysteries are repeated anew.