I have often thought that the appeal to the brain through the sense of seeing is stronger than that through the sense of hearing. I have been brought to this conclusion by the fact that people are deeply moved by the contemplation of a play in a language that they are totally ignorant of, or by the dumb show of a pantomime.
Is not half the battle won when one perfectly physically realises the character to be impersonated?
To assist in this half of the conflict this book was written.
CHAPTER II
ON DESIGNING THE CHARACTER
Let us suppose that you have read the play, you know what the plot is about, and the part has been given to you to study. Perhaps the author describes the peculiarities of the character, or it is traditional to make up for the part in a given way. Failing help in either of these directions you must rely upon your own imagination.
Read the part through, trying to think of the character as distinct from yourself. Pretend that you are listening to the words spoken by another. Decide what kind of a man would say such words and behave in such a manner. What are his moral and mental characteristics?
Visualise him, think of him not as an element of the play but as one who on his journey through life has been accidentally involved in the dramatic conflict. Get acquainted with him, try to know something of his past life, for time and experience will have left their marks upon him.