<p> The actor's journey of self to character from the dressing room to the stage will be analyzed by way of Constantine Stanislavsky's Event Analysis and the Process of Evaluation, using Richard Schechner's Liminal Space as the foundation. Stanislavsky breaks down the mechanics of what happens to an actor as they go from one event to the next, and Dr. Schechner invites the actor's infinite imagination to live truthfully in the middle of that transition.</p><p> This process consists of constant practice, and the ability to dream. By crossing a threshold from one event to the next and by examining the space in between events, the actor learns the mechanics, the equations, and then, most importantly, to "un- think" them.</p>