Helena's Epiphany

There is a point in the play, in the last scene that I am doing where Helena suddenly realizes her place in the trio and decides what she wants to do about it- move out. I like this because the epiphany is organically develops on stage. In rehearsals Beth and I practiced creating tat raw emotion and I wanted to portray that Helena's though process was happening on stage in the moment. By doing this, I understood the importance of acting when not saying lines, which could arguably be more important that acting when saying lines. This is something Stanilslanski highlights- that if the actor becomes the character on stage and commits to their thought process, the emotions should reflect outwardly- and even if you appear to be doing nothing on stage that is better than becoming false and trying to represent the emotions through constructing facial expressions through association of what we think we know.