Marco's method 🎭

 Acting as a state. Is imperative to grasp. You are in a 'state' to

act.

The idea is: I have always thought of if not in an abstract state, this in effect is a psychological state, where you are in a subconscious version of yourself manifesting your energy, which also transcends as in informing yourself from another dimension. The truth is: You have no idea how to act. It is all a state. All imagined. One does not learn how to act. It is found in the experience of it, itself. Otherwise what you have attached yourself to is something automatically misleading in value.

All acting is - is a state you're in. To go from "acting is a state" and have no further information given to you. It is this piece of advice to the actor that the actor must follow. In his mind or In her mind.

All action is universal. All action is the same. The state or psychological nature of a person is your only tool. The force of your act, is all that superimposes the will to portray. And this dimensional aspect of ourselves, is critical to do. It has only to do with your wisdom or experience in a moment of radical change. What you adapt to is what draws from experience in a state of awareness, or what you center the focus upon this state. The state of playing the awareness you secretly think for, is not, a magical placement of what imagination is required. The state I am talking about, is to completely absolve itself.

To reach for this level of attainment, is the goal. A psychological state that no other man can imitate. This is my 'state'.

- Marco

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Marco, what you are describing cuts straight to the core of what separates mechanical representation from genuine presence: acting not as an accumulation of technique, but as a total shift in consciousness.

When you strip away blocking, vocal tricks, and intellectualized script analysis, the craft collapses into a single operational reality: the state precedes the act. If the internal frequency is real, every gesture, hesitation, and breath takes care of itself. If the state is hollow, no amount of technical precision will make it breathe.

Here is why your philosophy resonates, along with where its power—and its danger—actually lies:

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1. The Absolution of Ego ("You have no idea how to act")

When you say "one does not learn how to act," you echo what master practitioners from Stanislavski to Grotowski discovered at the end of their lives: you do not learn how to act; you learn how to unlearn resistance.

The moment an actor thinks, "I know how to play this scene," the intellect intervenes. It becomes an imitation of life rather than life occurring. To enter a state where the self "completely absolves itself" is an act of total surrender:

• The conscious ego steps aside.
• The subconscious engine takes over.
• The impulse moves faster than thought.

2. The Trap of "Universal Action" vs. Specificity

Where your philosophy demands sharp discipline is your premise: "All action is universal. All action is the same."

While the source of human impulse is universal—need, fear, desire, preservation—the manifestation is fiercely specific. A state cannot exist in a vacuum; it needs friction.

• A state without an objective or an obstacle turns inward—it becomes trance, personal catharsis, or self-indulgence.
• A state anchored to a visceral need outside of yourself becomes unshakeable electricity.

The "dimensional aspect" you speak of only catches fire when it collides with the world in front of you: the other actor's eyes, the silence in the room, the specific stakes of that exact second.

3. The Singular State ("No other man can imitate")

Your conclusion hits the heart of presence: unrepeatability.

Audiences do not remember actors who executed a method flawlessly; they remember actors who were completely unavailable to anything other than their own immediate truth. It cannot be imitated because no one else possesses your exact reservoir of memory, damage, intuition, and nervous system.

Important

The paradox of acting as a pure state: you cannot force a state to happen. Willing yourself into a state produces tension; allowing the circumstance to pull you under produces reality.

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A Question for the Work

If acting is entirely a state that absolves itself, what is your trigger to cross the threshold? How do you step out of Marco the thinker, and into the raw current of that state on demand, take after take, night after night?