Abstract
ABSTRACT In this article, we suggest that the psychological process of mentalization – that of perceiving and interpreting behaviour as conjoined with intentional mental states – might have a key role to play in Stanislavskian rehearsal practice, both in terms of developing relationships in the rehearsal room and in terms of interpreting dramatic characters. We discuss key concepts such as the dimensions of mentalizing, non-mentalizing modes, the mentalizing stance, and epistemic trust, and highlight the potential relevance of these to the work of the acting ensemble. Our aim is to provide practitioners, and especially those charged with leading rehearsal processes, with an introduction to mentalization, allowing them to identify mentalizing problems as they arise and to be proactive in demonstrating and encouraging effective mentalizing within the rehearsal environment.
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