Living the Facts Through Imagination


This section of Rudyard Kipling’s poem sets forth the factual areas the jury will want to know which is where we need to concentrate. Constantin Stanislavski teaches us how to live the facts which in turn teaches us how to discuss the facts at the highest level.

For every relevant what, why, when, how, where and who we must assimilate the fact so we understand what it stands for, where we are going with it, and what we will do with it. We internalize the fact in a way that it becomes an unbroken series of supposed circumstances which are based on our inner vision. Our inner vision is a combination of the relevant fact and our own similar experience.

This creates a conscious reasoned approach to the fact which we have allowed our imagination to personally live so the fact comes to life for us physically as well as mentally. This allows us to discuss the relevant facts at our highest level-a personal level that has a ring of sincerity, a ring of who we are.

Every moment we are in trial, every word we speak then is the result of the right life of our imagination. These inner visions create a corresponding mood that arouses our emotions and in turn the emotions of the jury.

If we try the case mechanically, without recognizing who we are, what we want, where we are going, and what we will do when we get there, we try the case without imagination.  This will translate to the jury as being unreal-nothing more than a wound-up machine, an automation.

See Stanislavski,  An Actor Prepares -Imagination (Translated by Elizabeth Reynolds Hapgood)

Lesson Three-Personally live all relevant facts through your imagination.

    7 Responses to “Living the Facts Through Imagination”

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