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A while back I wrote one blog post about Active Analysis. I guess I have more to unpack. The second reason I love Active Analysis is that it refuses to let thinking remain safely abstract. I did some training with Anne Bogart and SITI Company a while back. As a director, Bogart never let us sit in a comfortable circle discussing ideas. We had to show, not tell. And if we can't show it directly, do something that points to it. Actors can talk brilliantly about a scene. I know

It Begins in the Event I love Active Analysis because it begins with the simplest theatrical truth: something happens. Not something is diagnosed or discussed. I've often seen work lose its heat and resonance that way, only to be chased and rediscovered through more rehearsal. When you start with the first silent étude, you're already into something. The people inside the scene can no longer proceed as they did before. That sounds obvious, but in actor training it is so easy