Hi H.R.,

Thanks for your comment. I'm familiar with Mamet & Macy's practical aesthetics as a counter point to classic Method or Method-derivative training. But I actually think that emotion regulation is still in use when an actor is using practical aesthetics. If you were just dumped by your girlfriend but needed to go onstage that night and play someone deliriously in love, at some level you need to control you sadness/anger from your personal life, even if when you are onstage you are focused on getting into a flow state and focusing only on the words on the page.

You bring up the real question, which is how does an audience read into an actor "real" emotion? I don't think audiences want to see faked emotion on stage, no matter what the actor is actually doing. The audience wants to think that the character's experiences are real, and can't enter a stage of suspension of disbelief if they are thinking about what the actor is doing to get to the character's state. I'm still working on it....