Active imagination in realistic acting

The realistic acting of an actor (actress) relates closely or immediately to his (her) worldview.
Realistic acting always depends on the quality of the actor's (actress's) perceptual. The world or his (her) life is perceived by an actor (actress) as a human being. The world which is always the possibility that turned around. So, what gives identity or name to the realistic acting not only doesn't necessarily provide a fact which is not palpable, but also it is the actor's (actress's) imagination and it produces a palpable reality.
If we compare the reality of the everyday with reality of our art the results conclude that daily life is quite extensive, aimless, and not rhythmic; it is the unbalanced because everyday life lacks unity of time, place and topics.
But realistic acting, placed in a frame in which all true components are sequenced, limited, targeted and balanced.
Also, this sequence and balance is formed by imagination or illusion that has associated with perception and understanding of social behaviors from specific courses, specific location and specific culture of human being. Therefore, realistic acting is not merely the representation of life in detail but it is an imagination or illusion formed by actor (actress).
This is the actor (actress) who sequences a real matter by his (her) narrative of it, makes cause and effect relationship between its components and emphasizes on some its components.
Indeed, the realistic actor (actress) - by emphasizing on a real thing – converts it from subjective matter to objective matter.
Comparing the different views and approaches toward methods of treating the reality in realistic works, the author of this article tries to study the part of fiction and imitation in realistic acting. A comparison between «active fiction» and «passive fiction» in realist acting leads to define the function of each one in achievement of the actor in creating a character and interpreting his role.
What is the relationship between reality and fiction in art? In realism, is an artistic creation considered from scientific or fictional point of view? In his identification process, is a realistic actor made as a «discoverer» or an «inventor»? Is imitation the base of the realist acting and could it be achieved only by observation and comparison? Is it possible to have a combination of fiction and reality in realist acting? Undoubtedly, the study of the theories of Stanislavsky, as the greatest theorist in realist acting, and divergences between his and his follower’s, will include a major contribution of this article. It is certain that imitation, contrary to popular opinion, has no value in realist acting; it is the realistic fiction that forms the base of acting. None of the well-known theorists of realism in acting deny the fundamental role of the fiction in a realist-acting. But the dispute over the quality of such fiction: it exposes the individual characteristics of an actor in his real life or the prominent features of the role he play