There are distinct rules in ag, but all of them revolve around the idea that actors have recipes to achieve the desired oute. Many of these methods are determined by teachers, retired actors, schors, and academics. All the teag methods have been structured and verged into ag manuals. Given the short duration of the course, only three special methods reended by Professor Susan be taught.

  At the Uy of San Jose, in a special ag course offered at certain intervals, Professor Susan is part of the program to impart her ag skills to the world, even though she didn't achieve as much success as she had hoped in her career.

  -Among the initial teags is the cssic approach used in the industry, the method of ag. This is one of the most cssid successful ag forms that stand out. This method involves immersing our emotions into an experimental idea, experieng the role as if it were a real person, and eg the actor's owions with those of the character. It lead to a disorientation of one's perception of reality. - said Susan.

  Usually, only a skilled actor blehod ag with vocal and physical teiques. Method ag would typically lead to success in any performance, but if you bi with not just strong physical and vocal teiques, you could easily rank iop 5% of actors in the world.

  We've been practig vocal and physical teiques throughout the course, so I believe these teiques form the foundation for any actor. Even if you solely focus on vocal and physical teiques, you could still achieve siderable success. - Susan tinued.

  The entire auditorium was engrossed in the dialogue of the teacher. This was one of the best csses of the semester due to the significe of these methods.

  -Well, the sed ag approach is the Chekhov Method, based oional, physical, and psychological e. It could be termed as w on your role, delving into imagination, physical teique, and the artist's inner self. This method seeks naturalhrough deep refle and internalizing the role of an actor. It's one of the most used methods, created by Michael Chekhov, an actor who reached the pinnacle of success through his skills. -

  This method requires an exceptionally refined physical teique to execute, akin to a profound study of the role. It involves uanding the character's emotions, representing them in the performance, and knowing the role i. - Susan expined.

  Cameron, who was sitting at the bottom, eagerly raised his hand.

  -Yes, Mr. Cameron. -

  -I have a question, why aren't physical and vocal performances suffit? - Cameron asked.

  -Well, naturalness, Mr. Cameron. In this tury, basic teiques only serve for professional ag, but truly immersing oneself in a role requires something more important capturing the audience's approval and e. eg with the audience is our most crucial task. - Susan responded.

  -Therefore, the st teique is parallel to the Chekhov Method, the Stanisvski Teique. It's the pursuit of the character's emotional truth, expl the character in specific ses. The goal is to uand the character to the best of your ability, and from there, delving into the teiques that refihe results bees straightforward. - Susan tinued. - This method is on and relies on academically studying the script through deep reading. It usually requires signifit effort to stiously prehend the role and its representation.

  Cameron raised his hand again.

  -Yes, Mr. Cameron. -

  -It seems very simir to the previous method. What's the differeween the Chekhov Method and Stanisvski? - Cameron asked.

  -The Chekhov Method focuses more on imagination and the character, while Stanisvski seeks to work on oneself and the role. - Susan crified.

  -Thank you, I think I uand everything perfectly. - Cameron said.

  -Well, that's why I'm giving you all five-minute monologues. Each of you must adapt to a specific ag method. You'll have thirty mio practice, and we'll fiuhe method in the uping csses. - Susan announced.

  She handed out the papers to each student, a stack of about twelve pages for each monologue. The length alone ated thh study, let alone memorizing it perfectly.

  His monologue is about a medieval knight heading tainst the Goths to defend his home, even though they outnumber him 4 to 1 and there's a high ce they'll all die. He appears strong in front of his soldiers, but his fear eats at him in solitude.

  -At the end of the course, you will present your monologue to the css. If I believe yood enough, I'll give you a role in a uy theater py fust 4th. – said Susan for the css of performance.

  (The stage is illuminated by a soft light in a er, representing the light of dusk. A soldier, pyed by an actor, stands there, looking forward into the distahere's a small table with a letter and a framed photograph. Soft, mencholic background music pys, perhaps piano, violin, or cello.)

  Soldier: Here I stand, before the horizon that calls me to a duty I ot ignore. War calls us all, but leaving behind what I love most is a burden upon my heart. Who if not me to protect our home?

  (The soldier walks slowly towards the table, picks up the framed photograph, and holds it in their hands, looking at it with a mixture of sadness and affe.)

  Soldier: My beloved wife, every time I gaze upon this photograph, I feel your presence as if you were here with me—a fleeting memory that flickers in my thoughts. It's the love we share that gives me strength.

  (The soldier gently pces the photograph ba the table and takes the letter, holding it between their fingers as their gaze bees cloudy.)

  Soldier: (Voice quivering) This letter is my way of being with you when I ot be. Each word written here is a sign of love that transds distand time. I promise to return, even though the path is rugged and perilous. Every battle I face, every obstacle I overe, I do it with the image of your face etched in my mind.

  (The soldier falls silent for a moment, their gaze lost on the horizon.)

  Soldier: As I veo the unknown, I carry you with me in every step. Though uainty may loom, and fear may attempt to tear at my ce, I know I have a reason to e back. You are my bea in the darkness, my shelter iorm.

  (The soldier approaches the table, carefully pces the letter, and closes their eyes for a moment.)

  Soldier: (Determined) My love, no matter how much time passes, my itment to you will never waver. This war is not just mi belongs to all those we love and who fight for a better tomorrow. I promise to return to your embrace, with the sun on my shoulders and pea my heart.

  (The soldier straightens up, gazes once more toward the horizon, and lifts their gaze with determination.)

  Soldier: (With resolve) Now, I must go. Every step I take brings me closer to the distahat separates us. Though the path will be rough, and the days may turn dark, I will keep the light of our love burning bright within my heart.

  ...