The Inner Creative State

I really enjoyed the first paragraph of this chapter. The concept that the actor does not have a physical outlet for his emotions. Physical isn't quite the right word but it's close. Unlike the pianist going to his piano an actor turns to his mind, will and feelings. All these things combine to get the inner "elements" going. I assume elements is the things that we have been talking about through the rest of the chapters. Then there is the inner creative mood which is bad because it screams of theatre and self exhibition. It is good in the fact that it creates solitude in public which is something that you can not achieve in life. Audiences are good things that both scare actors but also get their creative energy flowing. A natural creative mood almost never happens spontaneously but when it does it creates a wonderful performance. In many cases the actor is not "in the mood" which means his "creative apparatus" is not functioning properly, is not functioning at all or is being replaced by something mechanical. All of these are bad things that create bad performance. Then the book goes into all kinds of reasons this may be happening or bad actor habits as I would call them. Towards the end I feel that the director is just talking and all I get from the last like two pages is: do well, show up early, prepare inside as well as outside.