With time, and perhaps as a result of having succeeded in beginning to resolve these tensions in my own theatrical practice, I came to understand that, in reality, it was not a matter of suspending or extinguishing thought while acting and then reactivating it after finishing the exercise or the scene, but rather of implementing a distinct way of thinking in each case.
Con el tiempo, y tal vez a raíz de haber logrado comenzar a resolver estas tensiones en mi propia práctica teatral, comprendí que no se trataba en realidad de suspender o apagar el pensamiento durante la actuación para volver a activarlo una vez finalizado el ejercicio o la escena, sino de poner en marcha un tipo de pensamiento distinto en cada caso.