ABSTRACT This article is an investigation into the difference between reaction and counter-action. The question arose during my experience of Active Analysis at the Stanislavski Acting Laboratory in California Riverside University. In the Meisner technique the emphasis lies on instinctive reaction, whereas in Stanislavski’s Active Analysis the action and counter-action are emphasised. Counter-action can be seen as the force working against the main action of the scene creating conflict. Having extensive knowledge of reaction, and experience of counter-action, it became important to understand the difference between the two concepts and the importance of both in actor training and application to text. Through research into Action-Perception theory, self-regulation and motivation, I attempt to dissect the fundamental discrepancies between the two principles. My findings show that reaction stems from impulse and instinct, whereas counter-action is rooted in motivation. When motivation and instinct are in conflict, self-regulation will attempt to supress the impulse and over-ride it with an alternative counter-action more suited to the overall motivation. As self-regulation is a limited resource, prolonged use will make this harder to control. Emotion control draws on the same limited resource as self-regulation. Suggesting that emotion regulation would be affected by a conflict in instinct and motivation. These conclusions have a strong impact on how emotions are manifested and produced in actors and warrant a re-evaluation of how actors reach emotional connection to the given circumstance, as well as how emotion is viewed and engaged with in actor training in general.

中文翻译：

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反作用中的反应：迈斯纳技术与主动分析如何相辅相成

摘要本文是对反应和反作用之间差异的调查。这个问题是在我在加州河滨大学 Stanislavski 代理实验室进行主动分析的过程中提出的。在迈斯纳技术中，重点在于本能反应，而在斯坦尼斯拉夫斯基的主动分析中，重点是作用和反作用。反作用可以被看作是对抗场景中主要作用的力量，从而产生冲突。拥有广泛的反应知识和反作用经验，了解这两个概念之间的差异以及两者在演员培训和文本应用中的重要性变得很重要。通过对行动-知觉理论、自我调节和动机的研究，我试图剖析这两个原则之间的根本差异。我的研究结果表明，反应源于冲动和本能，而反作用则植根于动机。当动机和本能发生冲突时，自我调节会试图抑制冲动，并用更适合整体动机的替代反作用来克服它。由于自我调节是一种有限的资源，长期使用会使其更难控制。情绪控制利用与自我调节相同的有限资源。暗示情绪调节会受到本能和动机冲突的影响。这些结论对演员如何表现和产生情绪有很大的影响，并需要重新评估演员如何与特定环境建立情感联系，