My basic training, which I always used—it is Stanislavski, but I got it from Sanford Meisner when I studied at the Neighborhood Playhouse—was that acting is living truthfully under imaginary circumstances. That is what I followed, no matter where I was working or what I was doing.
The thing I found interesting is that when I would read for things, I was very physical. And I would find that actors who came in and read—I would watch them, and sometimes I directed and cast them—weren’t physical at all. The physicality came from the Open Theater work. That work freed me up and gave me confidence.
I do see an open road ahead for me. I have so much knowledge and experience that I would like to pass on through my writing and teaching and coaching. And perhaps new or classic material will come my way again in the right circumstances. That would be wonderful.